57010-h/57010-h.htm


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<div>*** START OF THE PROJECT GUTENBERG EBOOK 57010 ***</div>


<div  class='figcenter id001'>
<span class='pageno' id='Page_on'>on</span>
<img src='images/cover.jpg' alt='' class='ig001' />
</div>
<div class='pbb'>
 <hr class='pb c000' />
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<div>
  <h1 class='c001'><span class='c002'>ALEXANDRIA</span>:<br /><span class='large'>A HISTORY AND A GUIDE.</span></h1>
</div>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<div class='lg-container-b c003'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>By the same writer</span>:</div>
    </div>
    <div class='group'>
      <div class='line in4'><span class='sc'>Howards End</span>,</div>
      <div class='line in4'><span class='sc'>The Longest Journey</span>,</div>
      <div class='line in4'><span class='sc'>The Celestial Omnibus</span>,</div>
      <div class='line in4'><span class='fss'>ETC., ETC.</span></div>
    </div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>

<div class='nf-center-c1'>
<div class='nf-center c003'>
    <div><span class='xlarge'><i>To G. H. L.</i></span></div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div id='i004'  class='figcenter id001'>
<img src='images/i004.jpg' alt='' class='ig001' />
<div class='ic002'>
<p><span lang="fr" xml:lang="fr">Vue d’Alexandrie—extraite du</span><br /><br /><span lang="fr" xml:lang="fr">IOVRNAL</span><br /><br /><span lang="fr" xml:lang="fr">DES VOYAGES</span><br /><br /><span lang="fr" xml:lang="fr">DE MONSIEVR</span><br /><br /><span lang="fr" xml:lang="fr">DE MONCONYS</span><br /><br /><i><span lang="fr" xml:lang="fr">LYON</span> M DC LXV.</i><br /><br />See p. <a href='#Page_83'>83</a></p>
</div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>

<div class='nf-center-c1'>
<div class='nf-center c003'>
    <div><span class='c004'>ALEXANDRIA:</span></div>
    <div class='c000'><span class='large'>A HISTORY AND A GUIDE</span></div>
    <div class='c000'><span class='small'><i>By</i></span></div>
    <div class='c000'><span class='large'>E. M. FORSTER, <span class='fss'>M.A. CANTAB.</span></span></div>
  </div>
</div>

<p class='c005'>If a man make a pilgrimage round Alexandria in the morning,
God will make for him a golden crown, set with pearls,
perfumed with musk and camphor, and shining from the East
to the West.</p>
<div class='c006'><i>Ibn Dukmak.</i></div>
<p class='c007'>To any vision must be brought an eye adapted to what is to be seen.</p>
<div class='c006'><i>Plotinus.</i></div>

<div class='nf-center-c0'>
<div class='nf-center c003'>
    <div>ALEXANDRIA:</div>
    <div>WHITEHEAD MORRIS LIMITED</div>
  </div>
</div>

<hr class='c008' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>1922.</div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div class='chapter'>
  <span class='pageno' id='Page_i'>i</span>
  <h2 id='p0s0t1' class='c009'>PREFACE.</h2>
</div>
<hr class='c010' />
<p class='c011'><span class='sc'>This</span> book consists of two parts: a History and a Guide.</p>
<p class='c012'>The “History” attempts (after the fashion of a
pageant) to marshal the activities of Alexandria during
the two thousand two hundred and fifty years of her
existence. Starting with the heroic figure of Alexander
the Great, it inspects the dynasty of the Ptolemies, and
in particular the career of the last of them, Cleopatra;
an account of Ptolemaic literature and science follows,
and closes this splendid period, to which I have given the
title of “Greco-Egyptian.” The second period, called
“Christian”, begins with the rule of Rome, and traces
the fortunes of Christianity, first as a persecuted and
then as a persecuting power: all is lost in 641, when the
Patriarch Cyrus betrays Alexandria to the Arabs. An
interlude comes next—“The Spiritual City”—which
meditates upon Alexandrian philosophy and religion,
both Pagan and Christian: it seemed better to segregate
these subjects, partly because they interrupt the main
historical procession, partly because many readers are
not interested in them. History is resumed in the
“Arab Period,” which is of no importance though it
lasts over 1,000 years—from Amr to Napoleon. With
Napoleon begins the “Modern Period,” the main feature
of which is the building of the city we now see under the
auspices of Mohammed Ali; and the pageant concludes,
as well as it may, with an account of the events of 1882,
and with surmises as to future municipal developments.</p>

<p class='c012'>The “History” is written in short sections, and at
the end of each section are references to the second part—the
“Guide”. <i>On these references the chief utility of the
book depends</i>, so the reader is begged to take special note
of them: they may help him to link the present and the
past. Suppose, for instance, he has read in the History
<span class='pageno' id='Page_ii'>ii</span>about the Pharos: at the end of the section he will find
references to Fort Kait Bey where the Pharos stood, to
Abousir where there is a miniature replica of it, and to
the Coin Room in the Museum, where it appears on the
moneys of Domitian and Hadrian. Or again, suppose
that the tragic fate of Hypatia has touched him: at the
end will be references to the Caesareum, where Hypatia
was murdered, and to the Wady Natrun, where the monks
who murdered her generally resided. Or the British
victories of 1801: he will be referred to the country over
which our troops marched, to the Abercrombie Monument
at Sidi Gaber, and to a tombstone in the courtyard of
the Greek Patriarchate. The “sights” of Alexandria
are in themselves not interesting, but they fascinate
when we approach them through the past, and this is
what I have tried to do by the double arrangement of
History and Guide.</p>

<p class='c012'>The “Guide” calls for no introduction. It is
written from the practical standpoint, and is intended to
be used on the spot. Maps and plans accompany it.
The city is divided into sections, the visitor in every case
starting from the Square. Other sections deal with the
environs, and with the surrounding country as far as
Rosetta on the east and Abousir on the west. In transliterating
Arabic names I have preferred the French
system: there are three English systems, each backed
by a rival government department, so the French seems
the safer course, and if I have not kept to it rigidly, I
am only following, though at a respectful distance, the
example of the Alexandria Municipality. Here and
there some History has crept into the Guide—notably in
the case of Aboukir, whose fortunes, though dependent
on Alexandria’s, present features of their own.</p>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<div class='chapter'>
  <span class='pageno' id='Page_iii'>iii</span>
  <h2 id='p0s0t2' class='c009'>AUTHORITIES.</h2>
</div>
<hr class='c010' />
<p class='c007'>There is, so far as I know, no monograph on Alexandria,
and though the present little book makes no
claim to original research, it has drawn together much
information that was hitherto scattered. The following
works, among others, have been consulted; those
marked with an asterisk are published locally.</p>
<p class='c013'>(A). <span class='sc'>History</span>:—</p>
<p class='c012'>Ptolemaic Period:—<i><span lang="fr" xml:lang="fr">Bouché-Leclercq, Histoire des
Lagides</span></i>. A scholarly and delightful work. 4 vols.</p>

<p class='c012'>Ptolemaic Literature:—<i><span lang="fr" xml:lang="fr">A. Couat, La Poésie Alexandrine</span></i>;
well written. <i>Theocritus</i>, translated A. Lang.</p>

<p class='c012'>Christian Period:—No satisfactory work. <i>S.
Sharpe, History of Egypt until the Arab Conquest, vol. 2</i>
may be consulted; also <i>Gibbon</i>, chs. 21 and 47.
<i>Mrs. Butcher, The Story of the Church in Egypt</i> is full of
information, but uncritical and diffuse.</p>

<p class='c012'>Arab Conquest:—<i>A. J. Butler, The Arab Conquest
of Egypt</i>. A monograph of the highest merit, brilliantly
written and practically reconstructing the episode.</p>

<p class='c012'>Jewish Thought:—<i>E. Herriot, <span lang="fr" xml:lang="fr">Philon le Juif.</span></i></p>

<p class='c012'>Neo-Platonism:—Various works. There is a lucid
introduction to Plotinus in <i>S. McKenna, Translation of
the Enneads</i>, vol. 1; this admirable translation is still
in progress. <i>Porphyry’s Letter to Marcella</i> (translated,
A. Gardner) is also interesting.</p>

<p class='c012'>Christian Theology:—See under “Christian period.”
The Fathers can be read in the <i>Ante-Nicene Christian Library</i>.</p>

<p class='c012'>Arab period:—Too obscure to possess a history.</p>

<p class='c012'>Napoleonic Wars:—<i>Mahan, Influence of Sea Power
upon the French Revolution</i>, chs. 9 and 10. <i>R. T</i>.
<span class='pageno' id='Page_iv'>iv</span><i>Wilson, History of the British Expedition to Egypt</i>. See
also below, under Aboukir.</p>

<p class='c012'>General Modern History:—<i>D. A. Cameron, Egypt in
the Nineteenth Century</i>. A well-written book by the late
Consul General at Alexandria; contains good account of
Mohammed Ali. The works of Lord Cromer, W. S. Blunt
and Sir V. Chirol are also useful.</p>

<p class='c012'>Events of 1882:—<i>C. Royle, The Egyptian Campaigns</i>.</p>

<p class='c012'>One or two novels and plays dealing with the History
may here be mentioned. The career of Cleopatra has inspired
two noble tragedies, Shakespeare’s <i>Antony and
Cleopatra</i>, and Dryden’s <i>All for Love</i>; extracts from
them are given on p. <a href='#Page_214'>214</a>. Dryden’s masterpiece should
be better known; it is most moving, admirably constructed,
and contains some magnificent scenes. A novel by <span lang="fr" xml:lang="fr">Pierre
Loüys</span>, <span lang="fr" xml:lang="fr"><i>Aphrodite</i></span>, also treats of the period, but in a
scented Parisian way.—<span lang="fr" xml:lang="fr">Anatole France</span>, <span lang="fr" xml:lang="fr"><i>Thais</i></span>, pictures
life in the 4th cent. A.D.; the details are both vivid
and accurate, and build up a perfect work of art.—For
the early 5th cent. there is Charles Kingsley’s <i>Hypatia</i>,
a rousing yarn about the final contest between Paganism
and Christianity; Kingsley is always readable, but his
bluff burly mind was incapable of understanding Alexandria.—Two
good novels by Marmaduke Pickthall,
<i>Said the Fisherman</i> and <i>Children of the Nile</i> touch upon
events in the modern period.</p>
<hr class='c014' />
<p class='c013'>(B). <span class='sc'>Guide</span>.:—</p>
<p class='c012'>*<i>E. Breccia, Alexandrea ad Aegyptum.</i> In French:
English translation announced. Deals mainly with
Classical Antiquities. Two sections—the first dealing
with the remains in the city and environs, the second
with the Greco-Roman Museum, of which Professor
Breccia is the distinguished Curator. I am under much
obligation to this fine scholarly book, especially in the
following sections:—Greco-Roman Museum, Catacombs
of Anfouchi and Kom es Chogafa, Serapeum, Abousir.</p>

<p class='c012'><span class='pageno' id='Page_v'>v</span>Prehistoric Harbour:—*<i><span lang="fr" xml:lang="fr">E. Jondet, Les Ports submergés
de l’ancienne Isle de Pharos</span></i>. A monograph by
the discoverer. Magnificent Maps.</p>

<p class='c012'>Pharos and Fort Kait Bey:—<i>H. Thiersch, Pharos,
Antike, Islam Und Occident</i>. A standard monograph, but
exhibiting the defects as well as the merits of German
Scholarship.</p>

<p class='c012'>Canopus and Aboukir:—*<i>J. Faivre, Canopus, Menouthis,
Aboukir</i>. Published in French and English. *<i>R.
D. Downes, A History of Canopus.</i> These excellent
pamphlets supplement one another, the first dealing with
the literary evidence, the second with the typography.</p>

<p class='c012'>Rosetta:—*<i><span lang="fr" xml:lang="fr">Max Herz Bey, Les Mosquées de Rosette</span></i>
(various articles in the <i><span lang="fr" xml:lang="fr">Comptes Rendus</span></i> of the <span lang="fr" xml:lang="fr">Comité de
Conservation des Monuments Arabes</span>).</p>

<p class='c012'>St. Menas:—*<i><span lang="fr" xml:lang="fr">C. M. Kaufmann, La Decouverte des
Sanctuaires de Menas</span></i>. By the Excavator.</p>

<p class='c012'>Natrun Monasteries:—<i>A. J. Butler, Ancient Coptic
Churches</i>.</p>
<hr class='c014' />
<p class='c012'>Many friends have also helped me, among whom I
would particularly thank the following:—Mr. George
Antonius for his assistance with those interesting but
little known buildings, the Alexandria Mosques; Mr. M. S.
Briggs for his help in the Rosetta section; Dr. A. J.
Butler for permission to reproduce two plans of the
Natrun Churches; Mr. C. P. Cavafy for permission to
publish one of his poems, and Mr. G. Valassopoulo for
translating the same; the Rev. R. D. Downes for his
help at Aboukir; Mr. R. A. Furness for his verse
translations from Callimachus and other Greek poets;
M. E. Jondet, Director of Ports and Lights, for taking
me to see his fascinating discovery, the Prehistoric
Harbour, and for placing at my disposal his unrivalled
collection of Maps and Views, two of which I have
reproduced; and above all Mr. G. H. Ludolf, to whose
<span class='pageno' id='Page_vi'>vi</span>suggestion this book is due, and without whose help it
would never have been completed. I shall never forget
the kindness that I have received at Alexandria, and in
no wise endorse the verdict of my predecessor the poet
Gelal ed Din ben Mokram who monstrously asserts
that:—</p>

<div class='lg-container-l c015'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'>The visitor to Alexandria receives nothing in the way of hospitality</div>
      <div class='line'>Except some water and an account of Pompey’s Pillar.</div>
      <div class='line'>Those who wish to treat him very well go so far as to offer some fresh air</div>
      <div class='line'>And to tell him where the Lighthouse is.</div>
      <div class='line'>They also instruct him about the sea and its waves,</div>
      <div class='line'>Adding a description of the large Greek boats.</div>
      <div class='line'>The visitor need not aspire to receive any bread,</div>
      <div class='line'>For to a request of this sort there is no reply.</div>
    </div>
  </div>
</div>

<p class='c007'>Circumstances which I could not control have
delayed the publication of the book, but, with the help
of friends, I have tried to bring the “Guide” up to
date as far as possible.</p>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<div class='chapter'>
  <span class='pageno' id='Page_vii'>vii</span>
  <h2 class='c009'>CONTENTS.</h2>
</div>
<hr class='c010' />
<table class='table0' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>&nbsp;</td>
    <td class='c017'>Page</td>
  </tr>
  <tr><td>&nbsp;</td></tr>
  <tr>
    <td class='c016'>Preface</td>
    <td class='c017'><a href='#p0s0t1'>i</a></td>
  </tr>
  <tr>
    <td class='c016'>Authorities</td>
    <td class='c017'><a href='#p0s0t2'>iii</a></td>
  </tr>
</table>

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>PART I: HISTORY.</div>
    <div class='c000'>SECTION I: GRECO-EGYPTIAN PERIOD.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c018'>The Land and the Waters</td>
    <td class='c017'><a href='#Page_5'>5</a></td>
  </tr>
  <tr>
    <td class='c018'>Pharos, Rhakotis, Canopus</td>
    <td class='c017'><a href='#p1s1t02'>6</a></td>
  </tr>
  <tr>
    <td class='c018'>Alexander the Great</td>
    <td class='c017'><a href='#Page_8'>8</a></td>
  </tr>
  <tr>
    <td class='c018'>The Foundation Plan</td>
    <td class='c017'><a href='#p1s1t04'>9</a></td>
  </tr>
  <tr>
    <td class='c018'>The First Three Ptolemies</td>
    <td class='c017'><a href='#p1s1t05'>11</a></td>
  </tr>
  <tr>
    <td class='c018'>The Ptolemaic City</td>
    <td class='c017'><a href='#Page_16'>16</a></td>
  </tr>
  <tr>
    <td class='c018'>The Later Ptolemies</td>
    <td class='c017'><a href='#Page_21'>21</a></td>
  </tr>
  <tr>
    <td class='c018'>Cleopatra</td>
    <td class='c017'><a href='#Page_23'>23</a></td>
  </tr>
  <tr>
    <td class='c018'>Ptolemaic Culture:</td>
    <td class='c017'><a href='#Page_28'>28</a></td>
  </tr>
  <tr>
    <td class='c019'>Literature</td>
    <td class='c017'><a href='#p1s1t09-1'>29</a></td>
  </tr>
  <tr>
    <td class='c019'>Scholarship</td>
    <td class='c017'><a href='#p1s1t09-2'>34</a></td>
  </tr>
  <tr>
    <td class='c019'>Art</td>
    <td class='c017'><a href='#p1s1t09-3'>35</a></td>
  </tr>
  <tr>
    <td class='c019'>Philosophy</td>
    <td class='c017'><a href='#p1s1t09-4'>36</a></td>
  </tr>
  <tr>
    <td class='c019'>Science</td>
    <td class='c017'><a href='#p1s1t09-5'>36</a></td>
  </tr>
</table>
<hr class='c020' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>SECTION II: CHRISTIAN PERIOD.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>The Rule of Rome</td>
    <td class='c017'><a href='#Page_44'>44</a></td>
  </tr>
  <tr>
    <td class='c016'>The Christian Community</td>
    <td class='c017'><a href='#p1s2t02'>45</a></td>
  </tr>
  <tr>
    <td class='c016'>Arius and Athanasius</td>
    <td class='c017'><a href='#p1s2t03'>47</a></td>
  </tr>
  <tr>
    <td class='c016'>The Rule of the Monks</td>
    <td class='c017'><a href='#p1s2t04'>50</a></td>
  </tr>
  <tr>
    <td class='c016'>The Arab Conquest</td>
    <td class='c017'><a href='#p1s2t05'>52</a></td>
  </tr>
</table>
<hr class='c020' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>SECTION III: THE SPIRITUAL CITY.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c018'>Introduction</td>
    <td class='c017'><a href='#Page_60'>60</a></td>
  </tr>
  <tr>
    <td class='c018'>The Jews</td>
    <td class='c017'><a href='#p1s3t02'>62</a></td>
  </tr>
  <tr>
    <td class='c018'>Neo-Platonism</td>
    <td class='c017'><a href='#p1s3t02'>64</a></td>
  </tr>
  <tr>
    <td class='c018'>Christianity:</td>
    <td class='c017'><a href='#p1s3t03'>69</a></td>
  </tr>
  <tr>
    <td class='c019'>Introduction</td>
    <td class='c017'><a href='#p1s3t03-0'>69</a></td>
  </tr>
  <tr>
    <td class='c019'>Gnosticism</td>
    <td class='c017'><a href='#p1s3t03-1'>71</a></td>
  </tr>
  <tr>
    <td class='c019'>Orthodoxy</td>
    <td class='c017'><a href='#p1s3t03-2'>72</a></td>
  </tr>
  <tr>
    <td class='c019'>Arianism</td>
    <td class='c017'><a href='#p1s3t03-3'>75</a></td>
  </tr>
  <tr>
    <td class='c019'>Monophysism</td>
    <td class='c017'><a href='#p1s3t03-4'>76</a></td>
  </tr>
  <tr>
    <td class='c019'>Monothelism</td>
    <td class='c017'><a href='#p1s3t03-5'>76</a></td>
  </tr>
  <tr>
    <td class='c019'>Conclusion: Islam</td>
    <td class='c017'><a href='#p1s3t03-6'>77</a></td>
  </tr>
</table>
<div><span class='pageno' id='Page_viii'>viii</span></div>
<hr class='c020' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>SECTION IV: ARAB PERIOD.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>The Arab Town</td>
    <td class='c017'><a href='#Page_80'>80</a></td>
  </tr>
  <tr>
    <td class='c016'>The Turkish Town</td>
    <td class='c017'><a href='#Page_82'>82</a></td>
  </tr>
</table>
<hr class='c020' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>SECTION V: MODERN PERIOD.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>Napoleon</td>
    <td class='c017'><a href='#Page_86'>86</a></td>
  </tr>
  <tr>
    <td class='c016'>Mohammed Ali</td>
    <td class='c017'><a href='#p1s5t02'>88</a></td>
  </tr>
  <tr>
    <td class='c016'>The Modern City</td>
    <td class='c017'><a href='#p1s5t03'>90</a></td>
  </tr>
  <tr>
    <td class='c016'>The Bombardment of Alexandria</td>
    <td class='c017'><a href='#p1s5t04'>93</a></td>
  </tr>
  <tr>
    <td class='c016'>Conclusion</td>
    <td class='c017'><a href='#p1s5t05'>97</a></td>
  </tr>
</table>
<hr class='c020' />
<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>The God abandons Antony</td>
    <td class='c017'><a href='#Page_98'>98</a></td>
  </tr>
</table>
<hr class='c020' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>PART II: GUIDE.</div>
    <div class='c000'>SECTION I:</div>
    <div>FROM THE SQUARE TO <span lang="fr" xml:lang="fr">RUE ROSETTE</span>.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c018'>The Square</td>
    <td class='c017'><a href='#p2s1t01'>102</a></td>
  </tr>
  <tr>
    <td class='c019'>Statue of Mohammed Ali</td>
    <td class='c017'><a href='#p2s1t01'>102</a></td>
  </tr>
  <tr>
    <td class='c019'>Banco di Roma</td>
    <td class='c017'><a href='#Page_103'>103</a></td>
  </tr>
  <tr>
    <td class='c018'><span lang="fr" xml:lang="fr">Rue Rosette</span></td>
    <td class='c017'><a href='#p2s1t04'>104</a></td>
  </tr>
  <tr>
    <td class='c019'>Mosque of the Prophet Daniel</td>
    <td class='c017'><a href='#daniel'>104</a></td>
  </tr>
  <tr>
    <td class='c019'>St. Saba</td>
    <td class='c017'><a href='#saba'>106</a></td>
  </tr>
  <tr>
    <td class='c018'>Greco-Roman Museum</td>
    <td class='c017'><a href='#p2s1t07'>107</a></td>
  </tr>
</table>
<hr class='c020' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>SECTION II:</div>
    <div>FROM THE SQUARE TO RAS-EL TIN.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>Chorbagi Mosque</td>
    <td class='c017'><a href='#chorbagi'>124</a></td>
  </tr>
  <tr>
    <td class='c016'>Terbana Mosque</td>
    <td class='c017'><a href='#terbana'>125</a></td>
  </tr>
  <tr>
    <td class='c016'>Abou el Abbas Mosque</td>
    <td class='c017'><a href='#abou'>126</a></td>
  </tr>
  <tr>
    <td class='c016'>Anfouchi Tombs</td>
    <td class='c017'><a href='#p2s2t04'>126</a></td>
  </tr>
  <tr>
    <td class='c016'>Ras-el-Tin Palace</td>
    <td class='c017'><a href='#Page_129'>129</a></td>
  </tr>
  <tr>
    <td class='c016'>Prehistoric Harbour</td>
    <td class='c017'><a href='#Page_130'>130</a></td>
  </tr>
  <tr><td>&nbsp;</td></tr>
  <tr>
    <td class='c016'>Fort Kait Bey (The Pharos)</td>
    <td class='c017'><a href='#Page_133'>133</a></td>
  </tr>
</table>
<div><span class='pageno' id='Page_ix'>ix</span></div>
<hr class='c020' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>SECTION III: FROM THE SQUARE TO THE SOUTHERN QUARTERS.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>Place St. Catherine</td>
    <td class='c017'><a href='#catherine'>142</a></td>
  </tr>
  <tr>
    <td class='c016'>Attarine Mosque</td>
    <td class='c017'><a href='#Page_143'>143</a></td>
  </tr>
  <tr>
    <td class='c016'>Old Protestant Cemetery</td>
    <td class='c017'><a href='#Page_144'>144</a></td>
  </tr>
  <tr>
    <td class='c016'>“Pompey’s Pillar” and Temple of Serapis</td>
    <td class='c017'><a href='#Page_144'>144</a></td>
  </tr>
  <tr>
    <td class='c016'>Kom es Chogafa Catacombs</td>
    <td class='c017'><a href='#i168'>148</a></td>
  </tr>
  <tr>
    <td class='c016'>Mahmoudieh Canal</td>
    <td class='c017'><a href='#mahmoudieh'>151</a></td>
  </tr>
</table>
<hr class='c020' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>SECTION IV: FROM THE SQUARE TO NOUZHA.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>Municipal Gardens</td>
    <td class='c017'><a href='#municipal'>154</a></td>
  </tr>
  <tr>
    <td class='c016'>Antique Tomb (Pompey’s?)</td>
    <td class='c017'><a href='#Page_155'>155</a></td>
  </tr>
  <tr>
    <td class='c016'>French War Memorial</td>
    <td class='c017'><a href='#french'>156</a></td>
  </tr>
  <tr>
    <td class='c016'>Nouzha Gardens</td>
    <td class='c017'><a href='#nouzha'>156</a></td>
  </tr>
  <tr>
    <td class='c016'>Antoniadis Gardens</td>
    <td class='c017'><a href='#Page_157'>157</a></td>
  </tr>
  <tr>
    <td class='c016'>Antique Tomb</td>
    <td class='c017'><a href='#Page_157'>157</a></td>
  </tr>
</table>
<hr class='c020' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>SECTION V: FROM THE SQUARE TO RAMLEH.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>Caesareum and Cleopatra’s Needles (site of)</td>
    <td class='c017'><a href='#Page_161'>161</a></td>
  </tr>
  <tr>
    <td class='c016'>Abercrombie Monument</td>
    <td class='c017'><a href='#Page_165'>165</a></td>
  </tr>
  <tr>
    <td class='c016'>Abou el Nawatir</td>
    <td class='c017'><a href='#nawatir'>165</a></td>
  </tr>
  <tr>
    <td class='c016'>San Stefano Casino</td>
    <td class='c017'><a href='#casino'>166</a></td>
  </tr>
  <tr>
    <td class='c016'>Spouting Rocks</td>
    <td class='c017'><a href='#spouting'>166</a></td>
  </tr>
</table>
<hr class='c020' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>SECTION VI: FROM THE SQUARE TO MEX.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>Mex</td>
    <td class='c017'><a href='#mex'>171</a></td>
  </tr>
  <tr>
    <td class='c016'>Fort Agame</td>
    <td class='c017'><a href='#agame'>171</a></td>
  </tr>
</table>
<hr class='c020' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>SECTION VII: ABOUKIR AND ROSETTA.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>Montazah</td>
    <td class='c017'><a href='#montazah'>175</a></td>
  </tr>
  <tr>
    <td class='c016'>Aboukir</td>
    <td class='c017'><a href='#p2s7t2'>176</a></td>
  </tr>
  <tr>
    <td class='c016'>Canopus</td>
    <td class='c017'><a href='#canopus'>180</a></td>
  </tr>
  <tr>
    <td class='c016'>Baths of “Cleopatra”</td>
    <td class='c017'><a href='#cleopatra'>183</a></td>
  </tr>
  <tr>
    <td class='c016'>Edku</td>
    <td class='c017'><a href='#edku'>184</a></td>
  </tr>
  <tr>
    <td class='c016'>Rosetta</td>
    <td class='c017'><a href='#Page_185'>185</a></td>
  </tr>
</table>
<div><span class='pageno' id='Page_x'>x</span></div>
<hr class='c020' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>SECTION VIII: THE LYBIAN DESERT.</div>
  </div>
</div>

<table class='table1' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>Abousir</td>
    <td class='c017'><a href='#Page_191'>191</a></td>
  </tr>
  <tr>
    <td class='c016'>Burg el Arab</td>
    <td class='c017'><a href='#burg'>194</a></td>
  </tr>
  <tr>
    <td class='c016'>St. Menas</td>
    <td class='c017'><a href='#Page_195'>195</a></td>
  </tr>
  <tr>
    <td class='c016'>Wady Natrun</td>
    <td class='c017'><a href='#p2s8t04'>200</a></td>
  </tr>
  <tr>
    <td class='c016'>Natrun Monasteries</td>
    <td class='c017'><a href='#i221'>204</a></td>
  </tr>
</table>
<hr class='c020' />
<div class='chapter'>
  <h2 class='c009'>APPENDICES.</h2>
</div>
<table class='table2' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'><span class='sc'>Appendix</span> I: The Modern Religious Communities</td>
    <td class='c017'><a href='#appi'>211</a></td>
  </tr>
  <tr>
    <td class='c016'><span class='sc'>Appendix</span> II: The Death of Cleopatra</td>
    <td class='c017'><a href='#appii'>214</a></td>
  </tr>
  <tr>
    <td class='c016'><span class='sc'>Appendix</span> III: The Uncanonical Gospels of Egypt (extracts)</td>
    <td class='c017'><a href='#appiii'>217</a></td>
  </tr>
  <tr>
    <td class='c016'><span class='sc'>Appendix</span> IV: The Nicene Creed</td>
    <td class='c017'><a href='#appiv'>218</a></td>
  </tr>
</table>
<div class='chapter'>
  <h2 class='c009'>INDEX.</h2>
</div>
<table class='table2' summary=''>
<colgroup>
<col width='90%' />
<col width='9%' />
</colgroup>
  <tr>
    <td class='c016'>Index</td>
    <td class='c017'><a href='#index'>222</a></td>
  </tr>
</table>
<hr class='c020' />
<div class='chapter'>
  <h2 class='c009'>LIST OF MAPS AND PLANS.</h2>
</div>
<table class='table3' summary=''>
<colgroup>
<col width='76%' />
<col width='23%' />
</colgroup>
  <tr>
    <td class='c019'>De Moncony’s View (1665):</td>
    <td class='c017'><a href='#i004'><i>Frontispiece.</i></a></td>
  </tr>
  <tr>
    <td class='c019'>Alexandria: Historical Map:</td>
    <td class='c017'><a href='#i114'>98</a></td>
  </tr>
  <tr>
    <td class='c019'>Genealogical Tree of Ptolemies:</td>
    <td class='c017'><a href='#Page_12'>12</a></td>
  </tr>
  <tr>
    <td class='c019'>The World according to Eratosthenes:</td>
    <td class='c017'><a href='#i054'>37</a></td>
  </tr>
  <tr>
    <td class='c019'>The World according to Claudius Ptolemy:</td>
    <td class='c017'><a href='#i054'>39</a></td>
  </tr>
  <tr>
    <td class='c019'>Belon’s View (1554)</td>
    <td class='c017'><a href='#Page_83'>83</a></td>
  </tr>
  <tr>
    <td class='c019'>Plan of Greco-Roman Museum:</td>
    <td class='c017'><a href='#Page_108'>108</a></td>
  </tr>
  <tr>
    <td class='c019'>Anfouchi Tombs:</td>
    <td class='c017'><a href='#Page_127'>127</a></td>
  </tr>
  <tr>
    <td class='c019'>Prehistoric Harbour</td>
    <td class='c017'><a href='#Page_131'>131</a></td>
  </tr>
  <tr>
    <td class='c019'>Kait Bey, Plan I</td>
    <td class='c017'><a href='#i151'>134</a></td>
  </tr>
  <tr>
    <td class='c021'>"&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Plan II</td>
    <td class='c017'><a href='#i152'>135</a></td>
  </tr>
  <tr>
    <td class='c019'>“Pompey’s Pillar” and Temple of Serapis</td>
    <td class='c017'><a href='#Page_144'>144</a></td>
  </tr>
  <tr>
    <td class='c019'>Kom es Chogafa</td>
    <td class='c017'><a href='#i168'>148</a></td>
  </tr>
  <tr>
    <td class='c019'>Country round Alexandria</td>
    <td class='c017'><a href='#Page_174'>174</a></td>
  </tr>
  <tr>
    <td class='c019'>Aboukir</td>
    <td class='c017'><a href='#Page_178'>178</a></td>
  </tr>
  <tr>
    <td class='c019'>Abousir</td>
    <td class='c017'><a href='#Page_191'>191</a></td>
  </tr>
  <tr>
    <td class='c019'>St. Menas. Plan I</td>
    <td class='c017'><a href='#Page_196'>196</a></td>
  </tr>
  <tr>
    <td class='c022'>"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Plan II</td>
    <td class='c017'><a href='#Page_197'>197</a></td>
  </tr>
  <tr>
    <td class='c019'>Natrun Monasteries. Plan I</td>
    <td class='c017'><a href='#Page_202'>202</a></td>
  </tr>
  <tr>
    <td class='c023'>"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Plan II</td>
    <td class='c017'><a href='#Page_203'>203</a></td>
  </tr>
  <tr>
    <td class='c019'>Map of Alexandria</td>
    <td class='c017'><a href='#alexmap'>in cover</a></td>
  </tr>
</table>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<div class='chapter'>
  <span class='pageno' id='Page_1'>1</span>
  <h2 class='c009'>PART I.</h2>
</div>
<hr class='c010' />

<div class='nf-center-c0'>
<div class='nf-center c024'>
    <div><span class='large'>HISTORY.</span></div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_2'>2</span>
  <h3 class='c001'>SECTION I.</h3>
</div>
<hr class='c025' />

<div class='nf-center-c0'>
<div class='nf-center c024'>
    <div>GRECO-EGYPTIAN PERIOD.</div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_5'>5</span>
  <h4 class='c026'>THE LAND AND THE WATERS.</h4>
</div>
<p class='c007'>The situation of Alexandria is most curious. To
understand it we must go back many thousand years.</p>

<p class='c012'>Ages ago, before there was civilization in Egypt, or
the delta of the Nile had been formed, the whole of the
country as far south as Cairo lay under the sea. The
shores of this sea were a limestone desert. The coastline
was smooth as a rule, but at the north-west corner
an extraordinary spur jutted out from the main mass.
It was not more than a mile wide, but many miles long.
Its base is not far from the modern Bahig. Alexandria
is built half-way down it, and its tip is the headland of
Aboukir. On each side of it there used to be deep salt
water.</p>

<p class='c012'>Centuries passed, and the Nile, issuing out of his
crack above Cairo, kept carrying down the muds of
Upper Egypt, and dropping them as soon as his current
slackened. In the north-west corner they were arrested
by this spur, and began to silt up against it. It was a
shelter not only from the outer sea, but from the prevalent
wind. Alluvial land appeared; the huge shallow
lake of Mariout was formed; and the current of the Nile,
unable to escape through the limestone barrier, rounded
the headland of Aboukir, and entered the outer sea by
what was known in historical times as the “Canopic”
Mouth.</p>

<p class='c012'>This explains one characteristic of Alexandrian
scenery—the long narrow ridge edged on the north by
the sea and on the south by a lake and flat fields. But
it does not explain why Alexandria has a harbour.</p>

<p class='c012'>To the north of the spur, and more or less parallel
to it, runs a second limestone range. It is much shorter
than the spur and much lower, being often below the
<span class='pageno' id='Page_6'>6</span>surface of the sea in the form of reefs. It seems unimportant.
But without it there would have been no
harbour (and consequently no town), because it breaks
the force of the waves. Starting at Agame it continues
as a series of rocks across the entrance of the modern
harbour. Then it reemerges to form the hammer-headed
promontory of Ras-el-Tin, disappears into a
second series of rocks that close the entrance of the
Eastern Harbour, and makes its final appearance at the
promontory of Silsileh, after which it rejoins the big
spur.</p>

<p class='c012'>Such are the main features of the situation; a
limestone ridge, with harbours on one side of it, and
alluvial country on the other. It is a situation unique
in Egypt, and the Alexandrians have never been truly
Egyptian.</p>
<div class='lg-container-l c027'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Best survey points on ridge are</span>:</div>
    </div>
    <div class='group'>
      <div class='line in2'><span class='sc'>Quarries beyond Mex</span>: p. <a href='#Page_171'>171</a></div>
      <div class='line in2'><span class='sc'>Hill of Abou el Nawatir</span>: p. <a href='#Page_165'>165</a></div>
      <div class='line in2'><span class='sc'>Montazah</span>: p. <a href='#Page_175'>175</a></div>
      <div class='line in2'><span class='sc'>Headland of Aboukir</span>: p. <a href='#Page_182'>182</a></div>
    </div>
  </div>
</div>

<h4 id='p1s1t02' class='c026'>PHAROS, RHAKOTIS, CANOPUS.</h4>
<p class='c007'>Who first settled on this remarkable stretch of
coast? There seem to have been three early centres.</p>

<p class='c012'>(i). Homer (Odyssey, Book iv) says:—</p>

<p class='c028'>“There is an island in the surging sea, which they call
Pharos, lying off Egypt. It has a harbour with good anchorage,
and hence they put out to sea after drawing water.”</p>

<p class='c029'>Homer’s island is now the promontory of Ras-el-Tin;
the intervening channel has silted up. There are no
traces of any early settlement on its soil, but in the sea
to its north and west the masonry of a prehistoric harbour
<span class='pageno' id='Page_7'>7</span>has been found. Homer goes on to tell how Menelaus
was becalmed on Pharos as he returned from Troy,
and how he could not get away until he had entrapped
Proteus, the divine king of the island, and exacted a
favourable wind. A similar legend has been found in an
ancient Egyptian papyrus. There the King is called the
“Prouti” or “Pharaoh”. “Prouti” is probably the
original of Homer’s “Proteus,” “Pharaoh” of his
“Pharos.” It is significant that our first glimpse of the
coast should be through the eyes of a Greek sailor.</p>

<p class='c012'>(ii). But our historical survey must begin with
Rhakotis. Rhakotis was a small Egyptian town built
on the rise where “Pompey’s Pillar” stands now, and
it existed as long ago as 1,300 B.C., for statues of that
time have been found here. The people were coast guards
and goat herds. Their chief god was Osiris.
Rhakotis was never important in itself. But it is important
as an element in the great Greek city that was
built up round it. It was a little lump of Egypt. Compare
it to the Arab villages and slums that have been
embedded in the scheme of the modern town—to Mazarita
or to Kom-el-Dik. Rhakotis was like one of these.
The native and conservative element naturally rallied to
it, and it became the site for Alexandria’s great religious
effort—the cult of Serapis.</p>

<p class='c012'>(iii). At the tip of the limestone ridge, where the
Nile once entered the sea, was another early settlement.
It also appears in Greek legend. In historical times, it
was known as Canopus.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Ras-el-tin</span> (Homer’s Pharos): p. <a href='#Page_129'>129</a></div>
      <div class='line'><span class='sc'>Prehistoric Harbour</span>: p. <a href='#Page_130'>130</a></div>
      <div class='line'><span class='sc'>Pompey’s Pillar</span> (Rhakotis): p. <a href='#Page_144'>144</a></div>
      <div class='line'><span class='sc'>Canopus</span>: p. <a href='#Page_180'>180</a></div>
    </div>
  </div>
</div>

<div>
  <span class='pageno' id='Page_8'>8</span>
  <h4 class='c026'>ALEXANDER THE GREAT (B.C. 331).</h4>
</div>
<p class='c007'>Few cities have made so magnificent an entry into
history as Alexandria. She was founded by Alexander
the Great.</p>

<p class='c012'>When he arrived here he was only twenty-five years
old. His career must be sketched. He was a Macedonian
and had begun by destroying the city-civilization of
ancient Greece. But he did not hate the Greeks, no, he
admired them immensely and desired to be treated as if
he was one, and his next exploit was to lead a crusade
against Greece’s traditional enemy, Persia, and to defeat
her in two tremendous battles, one at the Dardanelles
and one in Asia Minor. As soon as he conquered Syria,
Egypt fell into his hands, and fell willingly, for she too
hated the Persians. He went to Memphis (near modern
Cairo). Then he descended the Nile to the coast, and
ordered his architect Dinocrates to build round the nucleus
of Rhakotis a magnificent Greek city. This was
not mere idealism on his part, or rather idealism was
happily combined with utility. He needed a capital for
his new Egyptian kingdom, and to link it with Macedonia
that capital had to be on the coast. Here was the very
place—a splendid harbour, a perfect climate, fresh water,
limestone quarries, and easy access to the Nile. Here he
would perpetuate all that was best in Hellenism, and
would create a metropolis for that greater Greece that
should consist not of city-states but of kingdoms, and
should include the whole inhabited world.</p>

<p class='c012'>Alexandria was founded.</p>

<p class='c012'>Having given his orders, the young man hurried on.
He never saw a single building rise. His next care was
a visit to the temple of Ammon in the Siwan Oasis,
where the priest saluted him as a god, and henceforward
his Greek sympathies declined. He became an Oriental,
a cosmopolitan almost, and though he fought Persia
<span class='pageno' id='Page_9'>9</span>again, it was in a new spirit. He wanted to harmonise
the world now, not to Hellenise it, and must have looked
back on Alexandria as a creation of his immaturity.
But he was after all to return to her. Eight years later,
having conquered Persia, he died, and his body, after
some vicissitudes, was brought to Memphis for burial.
The High Priest refused to receive it there. “Do not
settle him here,” he cried, “but at the city he has built
at Rhakotis, for wherever this body must lie the city will
be uneasy, disturbed with wars and battles.” So he
descended the Nile again, wrapped in gold and enclosed
in a coffin of glass, and he was buried at the centre of
Alexandria, by her great cross roads, to be her civic
hero and tutelary god.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Coin of Alexander</span>: Museum, Room 3.</div>
      <div class='line'><span class='sc'>Statues of Him</span>: Museum, Rooms 12 and 16.</div>
      <div class='line'><span class='sc'>His Tomb</span> (Soma): p. <a href='#Page_105'>105</a></div>
      <div class='line'><span class='sc'>Tombstone of Macedonian Officer</span>: Museum, Room 20.</div>
    </div>
  </div>
</div>

<h4 id='p1s1t04' class='c026'>THE FOUNDATION PLAN.</h4>

<div class='nf-center-c0'>
<div class='nf-center c000'>
    <div>(<i>See Map of Ancient City p.</i> <a href='#Page_98'>98</a>).</div>
  </div>
</div>

<p class='c007'>Before dissecting Alexander’s plan we must remember
three differences in the configuration of the
soil as it existed in his day.</p>

<p class='c012'>(i). As already pointed out, Ras-el-Tin was then an
island. He thought of building here, but rejected the
site as too cramped. A shrine to his dead friend Hephaestion
rose here, that was all.</p>

<p class='c012'>(ii). Lake Mariout was much deeper then than now,
and directly connected with the Nile. Consequently it
was almost as important a water-way as the sea, and a
lake harbour was an integral part of the plan.</p>

<p class='c012'><span class='pageno' id='Page_10'>10</span>(iii). There was then through water-connection between
the Mediterranean and the Red Sea. The ancient
Egyptians had cut a canal from the Nile at Memphis
down to the salt lakes that begin by the modern Ismailia.
Thus Alexandria stood in the position of Port Said to-day;
a maritime gateway to India and the remoter east.</p>
<hr class='c014' />
<p class='c012'>The city was oblong, and filled up the strip between
the Lake and the sea; she was laid out in rigidly
straight lines. Her main street (the “Canopic”) still
exists in part as the <span lang="fr" xml:lang="fr">Rue Rosette</span>. It ran almost due
east and west—a bad direction because it was cut off
from the cool north wind that is the real tutelary god of
Alexandria, but, owing to the site, nothing else could be
contrived. Westward it terminated in the sea; eastward
it proceeded to Canopus (Aboukir). It was the
natural highway along the limestone spur, and no doubt
existed long before Alexander came.</p>

<p class='c012'>Crossing the Canopic Street, and following the line
of the present <span lang="fr" xml:lang="fr">Rue Nebi Daniel</span>, was the second main
artery, the street of the Soma. It started at the Lake
Harbour and ran northward to the sea. Where it intersected
the Canopic Street stood the Soma, or burial
place of Alexander—close to the present Mosque.
Parallel to these two streets ran others, dividing the
city into blocks of an American regularity. It could not
have been picturesque, but the Greeks did not desire
picturesqueness. They liked to lay their towns out
evenly—Rhodes and Halicarnassus had just been laid
out on the same lines—and the only natural feature they
cared to utilise was the sea. The blocks were labelled
according to the letters of the Greek alphabet.</p>

<p class='c012'>Of the sea front magnificent use was to be made.
Only one feature shall be mentioned here: the dyke
Heptastadion (seven stades long) which was built to
connect the island of Pharos and the mainland. It
performed two functions; it enlarged the city area, and
it broke the force of the currents and created a double
harbour—the Great Harbour to the east and the Eunostos
<span class='pageno' id='Page_11'>11</span>(“Safe Return”) to the west. In the Arab period
the Heptastadion silted up and became the neck of land
that leads to Ras-el-Tin.</p>

<p class='c012'>The course of the walls is uncertain. Perhaps their
eastern course was from the promontory of Silsileh to
the lake, and their western from the modern Gabbari to
the lake. Their foundations were accompanied by a portent
of the usual type. There was not enough chalk to
mark the outlines, so meal had to be substituted, and a
number of birds flew out of the lake and ate it all up.
The Greeks interpreted the portent satisfactorily: to
the Egyptians it might well have symbolised the advent
of the hungry foreigner. We are not told what was
substituted for the meal, but somehow or other the walls
were built and were studded at frequent intervals with
towers.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Lake Mariout</span>: p. <a href='#Page_190'>190</a></div>
      <div class='line'><span class='sc'><span lang="fr" xml:lang="fr">Rue Rosette</span></span>, (Canopic Street): p. <a href='#Page_104'>104</a></div>
      <div class='line'><span class='sc'><span lang="fr" xml:lang="fr">Rue Nebi Daniel</span></span> (Street of Soma): p. <a href='#Page_104'>104</a></div>
    </div>
  </div>
</div>

<h4 id='p1s1t05' class='c026'>THE FIRST THREE PTOLEMIES.</h4>
<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Ptolemy</span> I., <span class='sc'>Soter</span>, 323-285.</div>
      <div class='line'><span class='sc'>Ptolemy</span> II., <span class='sc'>Philadelphus</span>, 285-247.</div>
      <div class='line'><span class='sc'>Ptolemy</span> III., <span class='sc'>Euergetes</span>, 247-222.</div>
    </div>
  </div>
</div>

<div class='nf-center-c0'>
<div class='nf-center c000'>
    <div class='c031'>(<i>See Genealogical Tree p.</i> <a href='#Page_12'>12</a>).</div>
  </div>
</div>

<p class='c012'>When Alexander died the empire was divided among
his generals, who ruled for a little in the name of his
half-brother or of his son, but who soon proclaimed
themselves as independent kings. Egypt fell to the
ablest and most discreet of these generals, a Macedonian
named Ptolemy. Ptolemy was no soaring idealist.</p>
<div  class='figcenter id003'>
<span class='pageno' id='Page_12'>12</span>
<a href='images/i027-028h.jpg'><img src='images/i027-028.jpg' alt='' class='ig001' /></a>
<div class='ic003'>
<p>For a larger view, click on illustration.</p>
</div>
</div>
<div class='footnote c032' id='f1'>
<p class='c013'><span class='label'><a href='#r1'>1</a>.&nbsp;&nbsp;</span><span class='pageno' id='Page_13'>13</span>Ptolemy IX is omitted from this list; he was probably a
dead son of Ptolemy VII and Cleopatra II, whom they inserted
posthumously in the annals as “Neos Philopator.”</p>
</div>
<p class='c011'><span class='pageno' id='Page_14'>14</span>He desired neither to Hellenise the world nor to harmonise
it. But he was no cynic either. He respected mental
as well as material activity. He had been present at
the foundation of Alexandria, and had evidently decided
that the place would suit him, and now, taking up his
abode in the unfinished city, he began to adorn her with
architecture and scholarship and song. Rival generals,
especially in Asia Minor and Macedonia, occupied much
of his energy. At the very beginning of his rule he was
involved in a curious war for the possession of the corpse
of Alexander, which he had kidnapped as it was on its
way from Persia to the Oasis of Ammon. Ptolemy
annexed the corpse and much else. Before he died he
had assumed the titles of King and of Soter (saviour), and
had added to his kingdom Cyrene, Palestine, Cyprus,
and parts of the Asia Minor coast. Of this substantial
domain Alexandria was the capital, and also the geographic
centre. Then, as now, she belonged not so much
to Egypt as to the Mediterranean, and the Ptolemies
realised this. Up in Egypt they played the Pharaoh,
and built solemn archaistic temples like Edfu and Kom
Ombo. Down in Alexandria they were Hellenistic.</p>
<p class='c012'>The second Ptolemy, Philadelphus, (Friend of
his Sister), was a more pretentious person than his
father. He is famous through the praises of the poets
whom he patronised and of the Jews whom he invited,
but his personal achievements were slight. Indeed the
chief event of his reign is domestic rather than military—in
277 he married his sister Arsinoe. This was as startling
to Greek feelings as it is to Christian, but in Egypt he
had a prototype in the god Osiris who had married his
sister Isis, and he justified the union on the highest
sacerdotal grounds. He and Arsinoe were deified as
the “Adelphian Gods,” in whose equal veins flowed the
uncontaminated blood of their divine father, the general,
and their example was followed, when possible, by their
successors. It was the pride of race carried to an extreme
degree. The royalties of to-day, for fear of debasing
their stock, marry first cousins; the Ptolemies, more
<span class='pageno' id='Page_15'>15</span>logical, tried to propagate within even narrower limits.
In flesh, as in spirit, the dynasty claimed to be apart
from common men, and to appear as successive emanations
of the Deity, in pairs of male and female. Arsinoe—to
come back to earth—was a domineering and sinister
woman. She was seven years older than her brother,
and when they married he had already a wife, whom she
drove from Alexandria by her intrigues. However, he
liked her and when, a martyr to indigestion, she died, he
was so far inconsolable that he did not marry again.</p>

<p class='c012'>The closing years of his reign were divided between
his mistresses and the gout. During a respite from the
latter he looked out of his palace window on some public
holiday, and saw beneath him the natives picnicking on
the sand, as they do at the feast of Shem-el-Nessem
to-day. They were obscure, they were happy. “Why
can I not be like them?” sighed the old king, and
burst into tears. His reign had been imposing rather
than beautiful and had initiated little in Alexandrian
civilization beyond the somewhat equivocal item of a
mystic marriage. He could endow and patronise. But,
unlike Alexander, unlike his father, he could not create.
He completed what they had laid down, and appropriated
the praise.</p>

<p class='c012'>Ptolemy Euergetes (Well-doer) was the son of
Philadelphus by his first wife. In character he resembled
his grandfather. He was a sensible and successful
soldier, with a taste for science. By marrying his cousin
Berenice, he secured Cyrene which had lapsed—Berenice
the most highly praised of all the Ptolemaic Queens,
though we know nothing of her character. In their
reign the power of Egypt and the splendour of Alexandria
came to their height. It is now time to examine that
splendour. One hundred years have passed since Alexander
laid the foundations. What has been built upon them?</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Coins of First Three Ptolemies</span>: Museum, Room 3.</div>
      <div class='line'><span class='sc'>Inscriptions</span>: Museum, Rooms 6, 22.</div>
      <div class='line'><span class='sc'>Ptolemy Euergetes, Statues</span>: Museum, Room 12.</div>
      <div class='line'><span class='sc'>Berenice, Statues</span>: Museum, Rooms 4, 12.</div>
    </div>
  </div>
</div>

<div>
  <span class='pageno' id='Page_16'>16</span>
  <h4 class='c026'>THE PTOLEMAIC CITY.</h4>
</div>

<div class='nf-center-c0'>
<div class='nf-center c000'>
    <div>(<i>See Map of Ancient City p.</i> <a href='#Page_98'>98</a>).</div>
  </div>
</div>

<p class='c007'>The following were the most important buildings
in the Ptolemaic city.</p>
<p class='c013'>(i). <span class='sc'>The Lighthouse.</span></p>
<p class='c012'>The Egyptian coast, being mainly alluvial, is difficult
to sight from the sea. It was therefore imperative to
indicate, by some great monument, where the new city
stood. It was desirable too to provide a guide for
sailors through the limestone reefs that line the shore.
For these reasons the Ptolemies built a lighthouse over
four hundred feet high on the Eastern end of Pharos
Island (present Fort Kait Bey). Full details are given
later (p. <a href='#Page_132'>132</a>); here it is enough to note that the Pharos (as
it was called) was the greatest practical achievement of
the Alexandrian mind and the outward expression of
the mathematical studies carried on in the Mouseion;
Sostratus, its architect, was contemporary with Eratosthenes
and Euclid.</p>

<p class='c012'>A fortress as well as a beacon, the Pharos was the
pivot of the city’s naval defences. It dominated both
the harbours, and kept special watch over the more
precious of them—the Eastern, which held the Royal
fleet. Here the promontory of the Palace stretched
towards it. Westward, it could signal over the other
harbour to the Chersonese (present Fort Agame). And
further west, the system was prolonged into a long line
of watch towers and beacons that studded the north
African coast, and connected Egypt with her daughter
kingdom of Cyrene. One of these towers (that at Abousir)
still remains, and shows in miniature what the Pharos must
once have been.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Fort Kait Bey</span> (Pharos): p. <a href='#Page_132'>132</a></div>
      <div class='line'><span class='sc'>Coins illustrating Pharos</span>: Museum, Room 2.</div>
      <div class='line'><span class='sc'>Tower of Abousir</span>: p. <a href='#Page_102'>102</a></div>
    </div>
  </div>
</div>

<p class='c033'><span class='pageno' id='Page_17'>17</span>(ii). <span class='sc'>The Palace.</span></p>
<p class='c012'>We can locate one point in the Palace, or rather
palace-system: it certainly covered the Promontory of
Silsileh, which was then both longer and broader than
now. But no one knows how far the buildings stretched
inland, or along the shore, nor what the architecture was.
Each Ptolemy made additions, and the whole formed a
special quarter, somewhat like the Imperial City at
Pekin. Egypt being an autocracy, the palace was the
seat of government as well as royal residence; clerks
had their offices there. There was a palace-harbour
(left of Silsileh), and an Island Palace or Kiosk called
Antirrhodus, which rivalled the glories of Rhodes;
Antirrhodus lay in the Eastern Harbour, and rocks, now
deep below the surface of the sea, have been identified
with it.</p>

<p class='c012'>Inland, the Palace connected with another great
system—that of the Mouseion. On its seaward side, it
was prolonged by breakwaters towards the Pharos.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Silsileh</span> (Site of Palace): p. <a href='#Page_163'>163</a></div>
      <div class='line'><span class='sc'>Columns from Locality</span>: Museum, Room 16.</div>
    </div>
  </div>
</div>

<p class='c033'>(iii). <span class='sc'>The Mouseion.</span></p>
<p class='c012'>The Mouseion at Alexandria was the great intellectual
achievement of the dynasty. Not only did it mould
the literature and science of its day, but it has left a
permanent impress upon thought. Its buildings have
all disappeared, and the very site is conjectural; perhaps
it had a facade opposite the Soma, west of the present
<span lang="fr" xml:lang="fr">Rue Nebi Daniel</span>. In its vast areas were lecture halls,
laboratories, observatories, a library, a dining hall, a
park, and a zoo.</p>

<p class='c012'>It was founded by Ptolemy Soter, who summoned
a follower of Aristotle, Demetrius Phaleras, and ordered
him to organise an institution on the lines of the Athenian
Mouseion—a philosophic establishment that had contained
the library of Aristotle. But the Alexandrian
Mouseion soon diverged widely from its model. It was
far richer and larger for one thing; the funds being
<span class='pageno' id='Page_18'>18</span>administered by a priest who was appointed by the King.
And it was essentially a court institution, under palace
control, and knew both the advantages and disadvantages
of royal patronage. In some ways it resembled a modern
university, but the scholars and scientists and literary
men whom it supported were under no obligation to
teach; they had only to pursue their studies to the
greater glory of the Ptolemies.</p>

<p class='c012'>The most famous element in this enormous institution
was the Library—sometimes called the “Mother” library
to distinguish it from a later and even greater collection.
500,000 books, and a catalogue that occupied 120. The
post of “Librarian” was of immense importance and
its holder was the chief official in the Mouseion.</p>

<p class='c012'>The actual literary and scientific output of the
Mouseion will be considered elsewhere (p. <a href='#Page_28'>28</a>).</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'><span lang="fr" xml:lang="fr">Rue Nebi Daniel</span></span> (Site of Mouseion?): p. <a href='#Page_105'>105</a></div>
    </div>
  </div>
</div>

<p class='c033'>(iv). <span class='sc'>The Temple of Serapis.</span></p>
<p class='c012'>The idea that one religion is false and another true
is essentially Christian, and had not occurred to the
Egyptians and Greeks who were living together at
Alexandria. Each worshipped his own gods, just as he
spoke his own language, but he never thought that the
gods of his neighbour had no existence, and he was
willing to believe that they might be his own gods under
another name. The Greeks in particular held this view
and had already identified Osiris, god of the world
beyond death, with their Dionysus, who was a god of
mysteries and also of wine. So when Ptolemy Soter
decided to compound a god for his new city, he was only
taking advantage of this tendency, and giving a local
habitation and a name and a statue to sentiments that
already existed.</p>

<p class='c012'>Osiris was the main ingredient. He was already
worshipped on the hill of Rhakotis, and he was the most
celebrated of the Egyptian deities. To him was added the
bull god Apis, of Memphis, whose cult had been
<span class='pageno' id='Page_19'>19</span>recently revived, and out of their names was formed the
compound, “Serapis.” But while the origins and title of
the new god were Egyptian, his appearance and attributes
were Greek. His statue—ascribed to the Greek sculptor
Bryaxis—showed him seated in Greek garments upon
a classic throne. His features were those of the bearded
Zeus, but softened and benign; indeed he more closely
resembled Aesculapius, god of Healing, to whom in a
civilised age men naturally turned. The basket on his
head showed that he was a harvest god, the three-headed
Cerberus stood by his side to show that he represented
Pluto, god of the underworld.</p>

<p class='c012'>The Ptolemies could launch such a being without
any fear of wounding religious susceptibilities. What
they could not have foreseen was his success. Serapis
not only fulfilled their immediate political aim of providing
the Alexandrians with a common cult. He spread
beyond the city, beyond Egypt, and shrines to him arose
all over the Mediterranean world. Osiris-Apis-Dionysus-Zeus-Aesculapius-Pluto
may seem to us an artificial compound,
but it stood the test of time, it satisfied men’s
desires, and was to be the last stronghold of Paganism
against Christianity.</p>

<p class='c012'>The Temple stood on the old citadel of Rhakotis,
where “Pompey’s Pillar” rises to-day. It was in the
midst of a cloister, and colonnades connected it with
each of the cloister’s sides. The architecture was Greek:
a large hall, and, at the end, the shrine with the god’s
statue. As the centuries passed, other buildings were
added, and the second and greater of the two Alexandrian
libraries—the “Daughter”—was arranged in them.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Temple of Serapis and “Pompey’s” Pillar</span>: p. <a href='#Page_144'>144</a></div>
      <div class='line'><span class='sc'>Statues of Serapis</span>: Museum, Room 16.</div>
      <div class='line'><span class='sc'>Serapis on Coins</span>: Museum, Rooms 2, 3.</div>
      <div class='line'><span class='sc'>Temple at Canopus</span>: p. <a href='#Page_180'>180</a>.</div>
    </div>
  </div>
</div>

<p class='c033'>(v). <span class='sc'>The Royal Tombs.</span></p>
<p class='c012'>The “Soma” of Alexander became so famous that
the earlier Ptolemies were buried close to it, and a mass
<span class='pageno' id='Page_20'>20</span>of building—probably Greek in architecture—arose
where the present <span lang="fr" xml:lang="fr">Rue Rosette</span> and <span lang="fr" xml:lang="fr">Rue Nebi Daniel</span>
intersect. Later on, the burial place seems to have been
in the Palace enclosure, and perhaps the “Mausoleum”
where Cleopatra died was on the promontory of Silsileh,
by a little Temple of Isis, within sound of the sea.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'><span lang="fr" xml:lang="fr">Rue Rosette</span></span>: p. <a href='#Page_104'>104</a></div>
      <div class='line'><span class='sc'>Promontory of Silsileh</span>: p. <a href='#Page_163'>163</a></div>
    </div>
  </div>
</div>

<p class='c033'>(vi). <span class='sc'>Other Buildings.</span></p>
<p class='c012'>Theatre and Racecourse. Both were near the
Palace: the former was probably on the site of the present
Egyptian Government Hospital. Their architecture was
Greek.</p>

<p class='c012'>The Dyke of the Heptastadion was part of Alexander’s
scheme. But the Ptolemies completed it and
fortified it where it rested on the Island of Pharos.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Egyptian Government Hospital</span> (Site of Theatre): p. <a href='#Page_162'>162</a></div>
    </div>
  </div>
</div>

<p class='c029'>Such were the chief buildings and institutions that
arose during the first hundred years of the city’s life.
Additions were made—notably the “Caesareum,” begun
by Cleopatra. But on the whole it may be said that
Alexandria was the product of a single scheme, laid
down by Dinocrates and executed by the first three
Ptolemies, and that she exhibited all the advantages,
and perhaps some of the drawbacks, of a town that has
been carefully planned. There was the majesty of well
considered effects; but there also may have been a
little dullness, and there were certainly none of the
mysterious touches that reminded Athens and even
Rome of an unanalysable past. In one sense the place
was more Greek than Greece—built at a date when the
Hellenic spirit had freed itself from many illusions and
was winning a command over material forces that it
had never possessed before. To her also Romance was
added in time; but she started brand new, gleaming
white, a calculated marvel of marble. Everything in her
had been thought out—even her religion.</p>
<div>
  <span class='pageno' id='Page_21'>21</span>
  <h4 class='c026'>THE LATER PTOLEMIES (B.C. 221-51).</h4>
</div>

<div class='nf-center-c0'>
<div class='nf-center c000'>
    <div>(<i>See Genealogical Tree p.</i> <a href='#Page_12'>12</a>).</div>
  </div>
</div>

<p class='c007'>After the death of Euergetes, the dynasty declines:
Some of his successors were able men, but a type evolved
that made neither for morality nor for success. The
average later Ptolemy is soft; he has the artistic temperament
but no passionate love of art; he is born in the
Palace at Alexandria and spends all his time there—so
much so that it was not known for a year that Ptolemy
IV had died; not naturally cruel, he is easily hurried
into cruelty; he is unexpectedly shy; in his old age he
grows fat, so that the Roman envoy murmurs “at all
events the Alexandrians have seen their king walk”
when Ptolemy VII comes puffing to greet him along the
quay. And as the men soften, the women harden.
The dynasty is interwoven with terrific queens. There
is the Arsinoe whom Philadelphus married; there is
Arsinoe III who faced the Syrian army at Rafa; there
is Cleopatra III who murdered her son; and there is
the last and greatest Cleopatra, with whom the tangled
race expires.</p>

<p class='c012'>In contrast to this confusion there rises the solid but
unattractive figure of Rome (first embassy B.C. 273,
first intervention B.C. 200). Her advance was postponed
until she had gained the Western Mediterranean
by defeating Carthage. She then came forward with
studied politeness as the protector of liberty and morals
in the East. Legal and self-righteous, she struck a chill
into the whole Hellenistic world. She was horrified at
its corruption—a corruption of which she never failed
to take advantage, and the shattered empire of Alexander
fell piece by piece into her hands. The Ptolemies were
the allies of this impeccable creature—a curious alliance,
but it lasted over 200 years. As the Egyptian fleet and
army decayed, Rome’s ministrations multiplied. She
<span class='pageno' id='Page_22'>22</span>declared herself guardian of the dynasty; then that one
of the Ptolemies had bequeathed Egypt to her in a will
that she never produced. The dynasty became, with
Ptolemy XIII, illegitimate, and Rome made him pay
her to recognise his legitimacy. When he was driven
from Egypt (B.C. 89) she made him pay her to restore
him. He was escorted back by an army of creditors,
and to raise the necessary sum of ten thousand talents
he had to grind down the people with taxes. Rome was
shocked, but firm.</p>

<p class='c012'>Against this relentless advance Alexandria could do
nothing. She was the brain of Egypt, and its five
senses too and, as each embassy touched her quays, she
realised, as the priest-ridden towns of the interior could
not, that the glory was departing from the Nile. There
was only one hope. Would Rome, before she could
annex Egypt, fall to pieces herself? There were signs
of it. The victorious republic had absorbed more plunder
and more ideas than she could conveniently digest.
She had always found it particularly difficult to digest an
idea. Rival Ptolemies had contended in Alexandria.
But rival Romans were now contending in Rome. Might
it be possible to play off against one the other, and so
win through to safety? The scheme commended itself
to the Alexandrians. It also occurred to the daughter
of the bankrupt Ptolemy XIII, a beautiful and amusing
princess called Cleopatra.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Coins of Later Ptolemies</span>: Museum, Room 3.</div>
      <div class='line'><span class='sc'>Portrait of Ptolemy iv</span>: Museum, Room 12.</div>
      <div class='line'><span class='sc'>Inscription to Ptolemy vii</span>: Museum, Garden Court.</div>
      <div class='line'><span class='sc'>Caricature of Roman Senator</span> as a rat: Museum, Room 13.</div>
    </div>
  </div>
</div>

<div>
  <span class='pageno' id='Page_23'>23</span>
  <h4 class='c026'>CLEOPATRA (B.C. 51-30).</h4>
</div>

<div class='nf-center-c0'>
<div class='nf-center c000'>
    <div>(<i>See Genealogical Tree p.</i> <a href='#Page_12'>12</a>).</div>
  </div>
</div>

<p class='c007'>The girl who came to the throne as Cleopatra VI
Philopator was only seventeen. Her brother and
husband Ptolemy XIV was ten; her younger brother
eight, her sister fifteen. The palace at Alexandria
became a nursery, where four clever children watched
the duel that was proceeding between Pompey and
Caesar beyond the seas. Pompey was their guardian,
but they had no illusions, either about him or one another.
All they cared for was life and power. Cleopatra failed
in her first intrigue, which was directed against her
husband. He expelled her, and in her absence the duel
was concluded. Pompey, defeated by Caesar, drifted to
Egypt, threw himself on the mercy of his wards, and was
murdered by their agents as he disembarked.</p>

<p class='c012'>With the arrival of Caesar, Cleopatra’s triumphs
began. She did not differ in character from the other
able and unscrupulous queens of her race, but she had
one source of power that they denied themselves—the
power of the courtesan—and she exploited it professionally.
Though passionate, she was not the slave of
passion, still less of sentimentality. Her safety, and the
safety of Egypt were her care; the clumsy and amorous
Romans, who menaced both, were her natural prey.
In old times, a queen might rule from her throne. Now
she must descend and play the woman. Having heard
that Caesar was quartered at the Palace, Cleopatra
returned to Alexandria, rolled herself up in a bale of
oriental carpets and was smuggled to him in this piquant
wrapper. The other children protested, but her first
victory had been won; she could count on the support
of Julius Caesar against her husband.</p>

<p class='c012'><span class='pageno' id='Page_24'>24</span>Caesar’s own position, was, however, most insecure.
He was Lord of the World, but in his haste to catch
Pompey he had hurried ahead of his legions. When
the glamour of his arrival had worn off the Alexandrians
realised this, and in a fierce little war (Aug. 48—Jan. 47)
tried to crush him before reinforcements arrived. He
held the Palace (near Chatby) the Theatre (Egyptian
Government Hospital); also part of the Eastern Harbour
where his small fleet lay. They held the rest of the
town, including the Western Harbour and the Island,
and they had with them Cleopatra’s sister who had
escaped from the palace and, later, Ptolemy XIV himself,—so
that they could claim to represent the dynasty.</p>

<p class='c012'>It was indeed a national rising against the Romans
and ably conducted. Five stages (<i>see</i> Map. p. <a href='#Page_98'>98</a>).</p>

<p class='c028'>(1). <i>Siege of the Palace.</i>—This was succeeding by land but
failed by sea, when Caesar, making a sudden excursion down the
docks of the Eastern Harbour, set fire to the Alexandrian
fleet. The flames spread to the Mouseion and the Library
(“Mother” Library) was burnt. An attempt to contaminate
the palace water supply also failed; when the Alexandrians
pumped salt water into the conduit, the besieged Romans bored
wells in the Palace enclosure.</p>

<p class='c034'>(2). <i>First Naval Engagement.</i>—Caesar’s reinforcements had
begun to arrive, and a heavy east wind had carried them past
the entrance of his harbour. He went out to tow them in, and
the Alexandrians issued from their own harbour—the Western—to
intercept him. They failed.</p>

<p class='c034'>(3). <i>Second Naval Engagement and loss of the Island of
Pharos.</i>—Issuing from his harbour, Caesar rounded Ras-el-Tin
and deployed outside the line of reefs that stretch from it to
Agame and guard the entrance to the Western Harbour. The
Alexandrians waited inside. Dashing through the entrance he
pressed them against the quays of Rhakotis and defeated them.
Now he could attack the Island on both sides. On the following
day it fell and he made it his headquarters, thus changing the
strategy of the war.</p>

<p class='c034'>(4). <i>Battle of the Dyke.</i>—Caesar now blocked up the arches
that penetrated the Heptastadion so that the Alexandrians could
not manœuvre from harbour to harbour. Then he tried to force
his way into the town. He employed too many troops, and
landing in his rear the Alexandrians threw him into confusion.
He himself had to jump from the dyke and swim to a boat.
Victory. They recaptured the whole of the Heptastadion and
reopened its arches.</p>

<p class='c034'><span class='pageno' id='Page_25'>25</span>(5). <i>Battle by the Nile.</i>—The war was after all decided
outside Alexandria. More reinforcements were coming to Caesar
down the Canopic mouth of the Nile and the Alexandrians
marched out to intercept them there. The young Ptolemy XIV
was their general now. He was defeated and drowned, his army
was destroyed, and Caesar returned in triumph to its city and to
Cleopatra.</p>

<p class='c029'>Cleopatra’s fortune now seemed assured. Having
married her younger brother (as Ptolemy XV) she went
for a trip with Caesar up the Nile to show him its antiquities.
The Egyptians detested her as their betrayer
but she was indifferent. She bore Caesar a son and
followed him to Rome, there to display her insolence.
She was at the height of her beauty and power when the
blow fell. On the Ides of March, B.C. 44, Caesar was
murdered. She had chosen the wrong lover after all.</p>

<p class='c012'>Back in Alexandria again, she watched the second
duel—that between Mark Antony and Caesar’s murderers.
She helped neither party, and when Antony won he
summoned her to explain her neutrality. She came,
not in a carpet but in a gilded barge, and her life henceforward
belongs less to history than to poetry. It is
almost impossible to think of the later Cleopatra as an
ordinary person. She has joined the company of Helen
and Iseult. Yet her character remained the same.
Voluptuous but watchful, she treated her new lover as
she had treated her old. She never bored him, and since
grossness means monotony she sharpened his mind to
those more delicate delights, where sense verges into
spirit. Her infinite variety lay in that. She was the
last of a secluded and subtle race, she was a flower
that Alexandria had taken three hundred years to produce
and that eternity cannot wither, and she unfolded herself
to a simple but intelligent Roman soldier.</p>

<p class='c012'>Alexandria, now reconciled to her fate and protected
by the legions of Antony, became the capital of
the Eastern world. The Western belonged to Octavian,
Caesar’s nephew, and a third duel was inevitable. It
was postponed for some years, during which Antony
acquired and deserted a Roman wife, and Cleopatra bore
<span class='pageno' id='Page_26'>26</span>him several children. Her son by Julius Caesar was
crowned as Ptolemy XVI, with the additional title of
King of Kings. Antony himself became a God, and she
built a temple to him, afterwards called the Caesareum,
and adorned by two ancient obelisks (Cleopatra’s
Needles). This period of happiness and splendour ended
in the naval disaster of Actium in the Adriatic, where
Octavian defeated their combined fleets. The defeat
was hastened by Cleopatra’s cowardice. At the decisive
moment she fled with sixty ships, actually breaking
her way through Antony’s line from the rear, and throwing
it into confusion. He followed her to Alexandria,
and there, when the recriminations had ceased, they
resumed their life of pleasures that were both shadowed
and sharpened by the approach of death. They made no
attempt to oppose the pursuing Octavian. Instead, they
formed a Suicide Club, and Antony, to imitate the
misanthrope Timon, built a hermitage in the Western
Harbour which he called Timonium. Nor was religion
silent. The god Hercules, whom he loved and who
loved him, was heard passing away from Alexandria one
night in exquisite music and song.</p>

<p class='c012'>Arrival of Octavian. He is one of the most odious
of the world’s successful men and to his cold mind the
career of Cleopatra could appear as nothing but a vulgar
debauch. Vice, in his opinion, should be furtive. At
his approach, Antony after resisting outside the Canopic
Gate (at “Caesar’s Camp”) retreated into the city and
fell upon his sword. He was carried, dying, to Cleopatra,
who had retired into their tomb, and their story now
rises to the immortality of art. Shakespeare drew his
inspiration from Plutarch, who was himself inspired, and
it is difficult through their joint emotion to realise the
actual facts. The asp, for example, the asp is not a
certainty. It was never known how Cleopatra died.
She was captured and taken to Octavian, with whom
even in Antony’s life-time she had been intriguing, for
the courtesan in her persisted. She appeared this time
not in a carpet nor yet in a barge, but upon a sofa,
<span class='pageno' id='Page_27'>27</span>in the seductive negligence of grief. The good young
man was shocked. Realising that he intended to lead
her in his triumph at Rome, realising too that she was
now thirty-nine years old, she killed herself. She was
buried in the tomb with Antony; and her ladies Charmion
and Iras, who died with her, guarded its doors as statues
of bronze. Alexandria became the capital of a Roman
Province.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Coin of Cleopatra</span>: Museum, Room 3.</div>
      <div class='line'><span class='sc'>Portrait of Cleopatra</span> (?): Museum, Room 12.</div>
      <div class='line'><span class='sc'>Death of Cleopatra</span> in Plutarch, Shakespeare and Dryden: Appendix p. <a href='#Page_214'>214</a>.</div>
      <div class='line'><span class='sc'>Inscription to Antony</span>: Museum, Room 6.</div>
      <div class='line'><span class='sc'>Colossus of Antony</span>: Museum, Garden Court.</div>
      <div class='line'><span class='sc'>Site of Caesareum</span>: p. <a href='#Page_161'>161</a>.</div>
      <div class='line'><span class='sc'>Shrine of Pompey</span> (?): p. <a href='#Page_155'>155</a>.</div>
      <div class='line'><span class='sc'>Departure of the God Hercules</span>: p. <a href='#Page_98'>98</a>.</div>
    </div>
  </div>
</div>

<p class='c029'>Thus the career of the Greco-Egyptian city closes,
as it began, in an atmosphere of Romance. Cleopatra
is of course a meaner figure than Alexander the Great.
Ambition with her is purely selfish; with Alexander it
was mystically connected with the welfare of mankind.
She knows nothing beyond the body and so shrinks from
discomfort and pain: Alexander attained the strength
of the hero. Yet for all their differences, the man who
created and the woman who lost Alexandria have one
element in common: monumental greatness; and
between them is suspended, like a rare and fragile chain,
the dynasty of the Ptolemies. It is a dynasty much
censored by historians, but the Egyptians, who lived
under it, were more tolerant. For it had one element
of greatness: it did represent the complex country that
it ruled. In Upper Egypt it carried on the tradition of
the Pharaohs: on the coast it was Hellenistic and in
touch with Mediterranean culture. After its extinction,
the vigour of Alexandria turns inwards. She is to do
big things in philosophy and religion. But she is no
longer the capital of a kingdom, no longer Royal.</p>
<div>
  <span class='pageno' id='Page_28'>28</span>
  <h4 class='c026'>PTOLEMAIC CULTURE.</h4>
</div>
<p class='c007'>Before leaving the Ptolemies, let us glance back at
their civilisation. We have seen how they founded two
great institutions, the Palace and the Mouseion, which
communicated with one another, and which stretched
from the promontory of Silsileh to some point inland—as
far as the modern railway station, perhaps. It was
in this area, among gardens and colonnades, that the
culture of Alexandria came into being. The Palace
provided the finances and called the tune: the Mouseion
responded with imagination or knowledge; the connection
between them was so intimate as almost to be absurd.
When, for instance, Queen Berenice the wife of Euergetes
lost her hair from the temple where she had dedicated it,
it was the duty of the court astronomer to detect it
as a constellation and of the court poet to write an
elegy thereon. And Stratonice, who was perfectly
bald, presented an even more delicate problem; she
sent over a message to the Mouseion that something
must be written about her hair also. Victory odes,
Funeral dirges, Marriage hymns, jokes, genealogical
trees, medical prescriptions, mechanical toys, maps,
engines of war: whatever the Palace required it had
only to inform the Mouseion, and the subsidised staff set
to work at once. The poets and scientists there did
nothing that would annoy the Royal Family and not
much that would puzzle it, for they knew that if they
failed to give satisfaction they would be expelled from
the enchanted area, and have to find another patron or
starve. It was not an ideal arrangement, as outsiders
were prompt to point out, and snobbery and servility
taint the culture of Alexandria from the first. It
sprang up behind walls, it never knew loneliness, nor the
glories and the dangers of independence, and the marvel
is that it flourished as well as it did. At all events it is
<span class='pageno' id='Page_29'>29</span>idle to criticise it for not being different, for if it had been
different it would not have been Alexandrian. In
spirit as in fact the Palace and the Mouseion touched,
and the Palace was the stronger and the older. The
contact strangled Philosophy and deprived Literature of
such sustenance as Philosophy can bring to her. But it
encouraged Science and gave even to Literature certain
graces that she had hitherto ignored.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Temple where Berenice dedicated her Hair</span>: p. <a href='#Page_183'>183</a>.</div>
    </div>
  </div>
</div>

<h5 id='p1s1t09-1' class='c035'>(A) LITERATURE.</h5>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Callimachus</span>, about 310-240.</div>
      <div class='line'><span class='sc'>Apollonius of Rhodes</span>, 260-188.</div>
      <div class='line'><span class='sc'>Theocritus</span>, about 320-250.</div>
    </div>
  </div>
</div>

<p class='c007'>The literature that grew up in the Mouseion had no
lofty aims. It was not interested in ultimate problems
nor even in problems of behaviour, and it attempted
none of the higher problems of art. To be graceful or
pathetic or learned or amusing or indecent, and in any
case loyal—this sufficed it, so that though full of experiments
it is quite devoid of adventure. It developed when
the heroic age of Greece was over, when liberty was lost
and possibly honour too. It was disillusioned, and we
may be glad that is was not embittered also. It had
strength of a kind, for it saw that out of the wreck of
traditional hopes three good things remained—namely
the decorative surface of the universe, the delights of
study, and the delights of love, and that of these three
the best was love. Ancient Greece had also sung of love,
but with restraint, regarding it as one activity among
many. The Alexandrians seldom sang of anything else:
their epigrams, their elegies and idylls, their one great
epic, all turn on the tender passion, and celebrate it in
ways that previous ages had never known, and that
future ages were to know too well. Darts and hearts,
sighs and eyes, breasts and chests, all originated in
<span class='pageno' id='Page_30'>30</span>Alexandria and from the intercourse between Palace and
Mouseion—stale devices to-day, but then they were fresh.</p>

<div class='lg-container-l c015'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'>Who sculptured Love and set him by the pool,</div>
      <div class='line'>thinking with water such a fire to cool?<a id='r1' /><a href='#f1' class='c036'><sup>[1]</sup></a></div>
    </div>
  </div>
</div>

<p class='c033'>runs a couplet ascribed to one of the early Librarians,
and containing in brief the characteristics of the school—decorative
method, mythological allusiveness, and the
theme of love. Love as a cruel and wanton boy flits
through the literature of Alexandria as through the
thousands of terra cotta statuettes that have been exhumed
from her soil; one tires of him, but it is appropriate
that he should have been born under a dynasty
that culminated in Cleopatra.</p>
<p class='c012'>Literature took its tone from Callimachus—a fine
poet, though not as fine as his patrons supposed. He
began life as a schoolmaster at Eleusis (the modern
Nouzha) and then was called to the Mouseion, where he
became Librarian under Euergetes. His learning was
immense, his wit considerable, his loyalty untiring. It
was he who wrote the poem about Berenice’s hair.
Dainty and pedantic in all that he did, he announced
that “a big book is a big nuisance” and cared more
about neatness of expression than depth of feeling,
though the feeling emerges in his famous epigram:</p>

<div class='lg-container-l c015'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'>Someone told me, Heracleitus, of your end;</div>
      <div class='line in2'>and I wept, and thought how often you and I</div>
      <div class='line in2'>sunk the sun with talking. Well! and now you lie</div>
      <div class='line'>antiquated ashes somewhere, Carian friend.</div>
      <div class='line in2'>But your nightingales, your songs, are living still;</div>
      <div class='line in2'>them the death that clutches all things cannot kill.<a id='r2' /><a href='#f2' class='c036'><sup>[2]</sup></a></div>
    </div>
  </div>
</div>

<div class='footnote c037' id='f2'>
<p class='c013'><span class='label'><a href='#r2'>2</a>.&nbsp;&nbsp;</span>Translated by R. A. Furness.</p>
</div>

<p class='c012'>Only once was this exquisite career interrupted. There
was among his pupils a young man from Rhodes with
thin legs, by name Apollonius. Apollonius was ambitious
to write an Epic—a form of composition detested by
Callimachus, and opposed to all his theories. In vain
he objected; Apollonius, then only eighteen, gave in the
<span class='pageno' id='Page_31'>31</span>Mouseion a public reading of the preliminary draft of his
poem. A violent quarrel was the result, Apollonius was
expelled, and Callimachus wrote a satire called the Ibis,
in which his rival’s legs and other deficiencies were exposed.
The friends of Apollonius retorted with equal
spirit, and the tranquillity of the Mouseion was impaired.
Callimachus won, but his victory was not eternal;
after his death Apollonius was recalled to Alexandria,
and in time became librarian there in his turn.</p>

<p class='c012'>The Epic Apollonius insisted on writing has
survived. It is modelled on Homer and deals with
the voyage of the Argo to recover the Golden
Fleece. But there is nothing Homeric in the treatment
and though we are supposed to be in barbaric lands
we never really leave the cultivated court of the
Ptolemies. Love is still the ruling interest. He slips,
the naughty little boy, into the Palace of Medea, and
shoots his tiny dart at her, to inspire her with passion for
Jason. So might he have inspired Queen Berenice or
Arsinoe. Pains, languors, and raptures succeed, and
the theme of the heroic quest is forgotten. Callimachus
can have found nothing to object to in such a poem
except its length, for it is typical of his school. Its
pictorial method is also characteristic of Alexandria;
many of the episodes might be illustrated by terra cotta
statues and gems.</p>

<p class='c012'>But one of the poets who worked in the Mouseion—Theocritus—was
a genius of a very different kind, a
genius that Alexandria matured but cannot be said to
have formed. Theocritus came here late in his career.
He had been born at Cos and had lived in Sicily, and he
arrived full of memories that no town-dweller could
share—memories of fresh air and the sun, of upland
meadows and overhanging trees, of goats and sheep, of
the men and the women who looked after them, and of
all the charm and the coarseness that go to make up
country life. He had thrown these memories into poetical
form, sometimes idealising them, sometimes giving
them crudely, and he had called these poems Idylls—little
<span class='pageno' id='Page_32'>32</span>pictures of rural existence. Love, mythological
fancies, decorative treatment—he liked these things too,
but he backed them with a width of experience and a
zest for it that Callimachus and Apollonius never knew.
While they are “Classics” who have to be studied,
Theocritus appeals to us at once; his Fifteenth Idyll,
describing life in the Greek Quarter at Alexandria, is as
vivid now as when he wrote it. The dialogue with
which it opens can be heard to-day in any of the little
drawing rooms of Camp de César or Ibrahimieh.
Praxinoe, a lady of the middle classes, is discovered
seated, doing nothing in particular. In comes Gorgo,
her friend.</p>

<p class='c028'><i>Gorgo.</i> Is Praxinoe at home?</p>

<p class='c034'><i>Praxinoe.</i> Oh my dear Gorgo, it’s ages since you were
here. She <i>is</i> at home. The wonder is that you’ve come
even now. (calls to the maid). Eunoe, give her a chair and
put a cushion on it.</p>

<p class='c034'><i>Gorgo.</i> Oh it does beautifully as it is.</p>

<p class='c034'><i>Praxinoe.</i> Sit down!</p>

<p class='c034'><i>G.</i> My nerves are all to bits—Praxinoe, I only just got
here alive ... what with the crowd, what with the
carriages ... soldiers’ boots—soldiers’ great-coats, and
the street’s endless—you really live too far.</p>

<p class='c034'><i>P.</i> That’s my insane husband. We took this hut—one
can’t call it a house—at the ends of the earth so that we
shouldn’t be neighbours. Mere jealousy. As usual.</p>

<p class='c034'><i>G.</i> But, dear, don’t talk about your husband when the
little boy’s here—he’s staring at you. (to the little boy)
Sweet pet—that’s all right—she isn’t talking about papa.—Good
Heavens, the child understands.—Pretty papa!</p>

<p class='c034'><i>P.</i> The other day, papa—we seem to call every day the
other day—the other day he went to get some soda at the
Baccal and brought back salt by mistake—the great overgrown
lout.</p>

<p class='c034'><i>G.</i> Mine’s exactly the same, he....<a id='r3' /><a href='#f3' class='c036'><sup>[3]</sup></a></p>
<div class='footnote c037' id='f3'>
<p class='c013'><span class='label'><a href='#r3'>3</a>.&nbsp;&nbsp;</span>Adapted from Andrew Lang’s Translation.</p>
</div>

<p class='c012'>And so on. But Gorgo wants to go out again, in spite
of her nerves. It is the Feast of the Resurrection—the
Resurrection of Adonis—and there is to be a magnificent
service inside the Palace, with a special singer, Praxinoe
decides to venture too, and puts on the dress with
the full body, that cost “at least eight pounds,” excluding
<span class='pageno' id='Page_33'>33</span>embroidery. They are ready at last and then the
little boy begins to scream; he wishes to be of the party.
But his mother remarks, “cry as much as you like, I
cannot have you lamed,” and takes Eunoe instead. In
the street the crush is terrific, they are terrified of the
Egyptians (just like Greek ladies to-day) and Eunoe, who
is always awkward, nearly falls under a horse. The
battle at the Palace Gate is worse still, Praxinoe’s best
muslin veil is torn, and she is more thankful than ever
that she did not bring her little boy. But for a kind
gentleman in the crowd, they would never have got in.
Once inside, all is enjoyment. The draperies are gorgeous
as might be expected when the Queen Arsinoe is
paying for them—Arsinoe the wife of Philadelphus.
And here is a Holy Sepulchre on which lies an image of
Adonis, the down of early manhood just showing on his
cheeks! The ladies are in ecstacies and can scarcely
quiet themselves to listen to the Resurrection Hymn.
In this Hymn Theocritus displays the other side of his
genius—the “Alexandrian” side. He is no longer the
amusing realist, but an erudite poet, whose chief theme
is love.</p>

<p class='c028'>O Queen that lovest Golgi and Idalium and Eryx, O
Aphrodite that playest with gold—lo from the everlasting
stream of Hades they have brought thee back Adonis....
A bridegroom of eighteen or nineteen years is he, his kisses
are not yet rough, the golden down being yet on his lips....
Thou only, dear Adonis, so men tell, visitest both this world
and the stream of Hades. For Agamemnon had no such
fate, nor Ajax the wrathful, nor Hector the first-born of
Hecuba, nor Patroclus, nor Pyrrhus that returned out of
Troy, nor the heroes of yet more ancient days.... Be
gracious now, dear Adonis, and bless us in the coming year.
Dear has thy resurrection been, and dear shall it be when
thou comest again.</p>

<p class='c029'>A beautiful hymn; but as Gorgo remarks “all the same
it’s time to be getting home; my husband hasn’t had his
dinner and when he’s kept waiting for his dinner he’s
as sour as vinegar.” They salute the risen god, and go.</p>

<p class='c012'>This delightful Idyll is not quite characteristic of
Theocritus—he generally sings of Shepherds and their
<span class='pageno' id='Page_34'>34</span>flocks. But it is his great contribution to the literature
of Alexandria, and our chief authority for daily life
under the Ptolemies. History is too much an affair of
armies and kings. The Fifteenth Idyll corrects the
error. Only through literature can the past be recovered
and here Theocritus, wielding the double spell of realism
and of poetry, has evoked an entire city from the dead
and filled its streets with men. As Praxinoe remarks of
the draperies “Why the figures seem to stand up and to
move, they’re not patterns, they are alive.”</p>

<p class='c012'>The Mouseion was at its best under the first three
Ptolemies. Then it declined—at least in its literary output—and
though Alexandria turned out poems, etc. for
several hundred years, few of them merit attention.
With the coming of the Romans her genius took a new
line, and essayed the neglected paths of philosophy and
religion. But she remained attractive to men of letters,
and nearly every writer of note visited her in the course
of his travels.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Statuettes of Loves</span>: Museum, Room 18.</div>
      <div class='line'><span class='sc'>Nouzha</span> (birthplace of Callimachus): p. <a href='#Page_156'>156</a></div>
    </div>
  </div>
</div>

<h5 id='p1s1t09-2' class='c035'>(B) SCHOLARSHIP.</h5>
<p class='c007'>In the Mouseion at Alexandria Greece first became
aware of her literary heritage, and the works of the past
were not only collected in the Library but were codified,
amended, and explained. Scholarship dates from Zenodotus,
the first Librarian. He turned his attention to
Homer, divided the Iliad and Odyssey into “Books,”
struck out spurious verses from the text, marked doubtful
ones, and introduced new readings. He gave a
general impulse to research. Hitherto the Greek
language had developed unnoticed. Now it was consciously
examined, and the result of the examination
was the first Greek Grammar (about 100 B.C.).
Grammar is a valuable subject but also a dangerous one,
<span class='pageno' id='Page_35'>35</span>for it naturally attracts pedants and schoolmasters and
all who think that Literature is an affair of rules. And
the Grammarians of Alexandria forgot that they were
merely codifying the usages of the past, and presumed
to dictate to the present, and to posterity; they set a
bad example that has been followed for nearly 2000 years.
Greek accents—another doubtful boon—were also invented
in the Mouseion. Indeed the whole of literary
scholarship, as we know it, sprang up, including that
curious by-product the Scholarly Joke. For instance:
one learned man wrote a poem that had, when transcribed,
the shape of a bird, another wrote a poem in the
shape of a double-headed axe, and a third re-wrote the
whole of the Odyssey without using the letter S. The
donnish wit of the Mouseion infected the Palace, and
was practiced by the Ptolemies themselves. One
scholar, Sosibius by name, complained to King Philadelphus
that he had not received his salary. The King
replied “The first syllable of your name occurs in Soter,
the second in Sosigenes, the third in Bion, and the fourth
in Apollonius; I have paid these four gentlemen, and
therefore I have paid you.”</p>
<h5 id='p1s1t09-3' class='c035'>(C) ART.</h5>
<p class='c007'>Unimportant. Alexandria had her special industries—<i>e.g.</i>
glass, terra cotta, “Egyptian Queen” pottery,
and woven stuffs, and her mint was famous; but for
creative artists the Ptolemies looked over seas. Greek
and Egyptian motives did not blend in Art as they did
in Religion; attempts occur, but they are not notable
and on the whole the city follows the general Hellenistic
tendencies of the time. These tendencies led as we have
seen away from the ideal and the abstract, and towards
portraiture and the dainty and the picturesque. Men
had lost for the time many illusions, both religious and
<span class='pageno' id='Page_36'>36</span>political, and were trying to beautify their private lives,
and the tombs of those whom they had loved.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Glass and “Egyptian Queen” Pottery</span>: Museum, Room 17.</div>
      <div class='line'><span class='sc'>terra cottas</span>: Museum, Room 18.</div>
      <div class='line'><span class='sc'>Ptolemaic Coins</span>: Museum, Room 3.</div>
      <div class='line'><span class='sc'>Blend of Greek and Egyptian Motives</span>: Museum Rooms 11 and 15; also Kom es Chogafa Catacombs, (p. <a href='#i168'>148</a>).</div>
      <div class='line'><span class='sc'>Tomb Ornaments</span>: Museum, Rooms 17-22.</div>
    </div>
  </div>
</div>

<h5 id='p1s1t09-4' class='c026'>(D) PHILOSOPHY.</h5>
<p class='c007'>Unimportant. The Ptolemies imported some second-rate
disciples of Aristotle to give tone to the Mouseion, but
took no interest in the subject, and were indeed averse to
it, since it might lead to freedom of thought. It was not
until their dynasty was extinct that the great school of
Alexandrian Philosophy arose. (See p. <a href='#Page_60'>60</a>, under heading
“The Spiritual City.”)</p>
<h5 id='p1s1t09-5' class='c035'>(E) SCIENCE.</h5>
<p class='c007'>The Ptolemies were more successful over Science
than over Literature. They preferred it, for it could not
criticise their divine right. Its endowment was the greatest
achievement of the dynasty and makes Alexandria
famous until the end of time. Science had been studied
in Ancient Greece, but sporadically: there had been no
co-ordination, no laboratories, and though important
truths might be discovered or surmised, they were in
danger of oblivion because they could not be popularised.
The foundation of the Mouseion changed all this. Working
under royal patronage and with every facility,
science leapt to new heights, and gave valuable gifts to
mankind. The third century B.C. is (from this point of
view) the greatest period that civilisation has ever known—greater
even than the nineteenth century A.D. It
did not bring happiness or wisdom: science never does.
But it explored the physical universe and harnessed
<span class='pageno' id='Page_37'>37</span>many powers for our use. Mathematics, Geography,
Astronomy, Medicine, all grew to maturity in the little
space of the land between the present <span lang="fr" xml:lang="fr">Rue Rosette</span> and
the sea, and if we had any sense of the fitting, some
memorial to them would arise on the spot to-day.</p>

<p class='c012'>(i). <span class='sc'>Mathematics.</span></p>

<p class='c012'>Mathematics begin with the tremendous but obscure
career of Euclid. Nothing is known about Euclid:
indeed one thinks of him to-day more as a branch of
knowledge than as a man. But Euclid was once alive,
landing here in the reign of Ptolemy Philadelphus, and
informing that superficial monarch that there is “no
royal road to geometry.” Here he composed, among
other works, his “Elements” in which he incorporated
all previous knowledge, and which have remained the
world’s text book for Geometry almost down to the present
day. Here he founded a mathematical school that
lasted 700 years, and acknowledged his leadership to the
last. Apollonius of Perga, who inaugurated the study of
Conic Sections, was his immediate pupil: Hyspicles added
to the thirteen books of his “Elements” two books more:
and Theon—father to the martyred Hypatia—edited
the “Elements” and gave them their present form, so
that from first to last the mathematicians of Alexandria
were preoccupied with him. An insignificant man,
according to tradition, and very shy; his snub to
Philadelphus seems to have been exceptional.</p>

<p class='c012'>(ii). <span class='sc'>Geography.</span></p>

<p class='c012'>In Geography there are two leading figures—Eratosthenes
and Claudius Ptolemy. Eratosthenes is the
greater. He seems to have been an all round genius,
eminent in literature as well as science. He was born at
Cyrene in B.C. 276 and, on the death of Callimachus,
was invited to Alexandria to become librarian. It was
in the Mouseion observatory that he measured the
Earth—perhaps not the greatest achievement of Alexandrian
science, but certainly the most thrilling. His
method was as follows. He knew that the earth is
round, and he was told that the midsummer sun at
Assouan in Upper Egypt cast no shadow at midday.
At Alexandria, at the same moment, it did cast a shadow,
Alexandria being further to the north on the same longitude.
On measuring the Alexandria shadow he found that
it was 7⅕ degrees—<i>i.e.</i> 1/50th of a complete circle—so
that the distance from Alexandria to Assouan must be
1/50th the circumference of the Earth. He estimated
the distance at 500 miles, and consequently arrived at
250,000 miles for the complete circumference, and 7,850
for the diameter; in the latter calculation he is only 50
miles out. It is strange that when science had once
gained such triumphs mankind should ever have slipped
back again into fairy tales and barbarism.</p>

<div id='i053'  class='figcenter id001'>
<span class='pageno' id='Page_38'>38</span>
<img src='images/i053.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'>The World according to Eratosthenes B.C. 250</span></p>
</div>
</div>
<div id='i054'  class='figcenter id001'>
<img src='images/i054.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'>The World according To Claudius Ptolemy A.D. 100</span></p>
</div>
</div>

<p class='c007'><span class='pageno' id='Page_40'>40</span>The other great work of Eratosthenes was his
“Geographies,” including all previous knowledge
on the subject, just as the “Elements” of Euclid
had included all previous mathematical knowledge.
The “Geographies” were in three books, and to them
was attached a map of the known world. (See p. <a href='#i054'>37</a>).
It is, of course, full of inaccuracies—<i>e g.</i> Great Britain is
too large, India fails to be a peninsula and the Caspian
Sea connects with the Arctic Ocean. But it is conceived
in the scientific spirit. It represents the world as
Eratosthenes thought it was, not as he thought it ought
to be. When he knows nothing, he inserts nothing;
he is not ashamed to leave blank spaces. He bases it
on such facts as he knew, and had he known more facts
he would have altered it.</p>

<p class='c012'>The other great geographer, Claudius Ptolemy,
belongs to a later period (A.D. 100) but it is convenient
to notice him here. Possibly he was a connection of
the late royal family, but nothing is known of his life.
His fame has outshone Eratosthenes’, and no doubt he
was more learned, for more facts were at his disposal.
Yet we can trace in him the decline of the scientific
spirit. Observe his Map of the World (p. <a href='#i054'>39</a>). At first
sight it is superior to the Eratosthenes Map. The
<span class='pageno' id='Page_41'>41</span>Caspian Sea is corrected, new countries—<i>e.g.</i> China—are
inserted, and there are (in the original) many more
names. But there is one significant mistake. He has
prolonged Africa into an imaginary continent and joined
it up to China. It was a mere flight of his fancy: he
even scattered this continent with towns and rivers. No
one corrected the mistake and for hundreds of years it
was believed that the Indian Ocean was land bound.
The age of enquiry was over, and the age of authority
had begun, and it is worth noting that the decline of
science at Alexandria exactly coincides with the rise of
Christianity.</p>

<p class='c012'>(iii). <span class='sc'>Astronomy and the Calendar.</span></p>

<p class='c012'>Astronomy develops on the same lines as Geography.
There is an early period of scientific research
under Eratosthenes, and there is a later period in which
Claudius Ptolemy codifies the results and dictates his
opinions to posterity. He announced, for example, that
the Universe revolves round the Earth, and this “Ptolemaic”
Theory was adopted by all subsequent astronomers
until Galileo, and supported by all the thunders of the
Church. Yet another view had been put forward,
though Ptolemy ignores it. Aristarchus of Samos,
working at Alexandria with Eratosthenes, had suggested
that the earth might revolve round the sun, and it is only
a chance that this view was not stamped as official and
imposed as orthodox all through the Middle Ages. We
do not know what Aristarchus’ arguments were, for his
writings have perished, but we may be sure that, working
in the 3rd century B.C., he had arguments and did not
take refuge in authority. Astronomy under the Ptolemies
was a serious affair—lightened only by the episode of
Berenice’s Hair.</p>

<p class='c012'>As to the Calendar. The Calendar we now use was
worked out in Alexandria. The Ancient Egyptians had
calculated the year at 365 days. It is actually 365 ¼,
so before long they were hopelessly out; the official
Harvest Festival, for instance, only coincided with the
<span class='pageno' id='Page_42'>42</span>actual harvest once in 1,500 years. They were aware of
the discrepancy, but were too conservative to alter it:
that was left to Alexandria. In B.C. 239 the little
daughter of Ptolemy Euergetes died, and the priests of
Serapis at Canopus passed a decree making her a goddess.
A reformer even in his grief, the King induced them to
rectify the Calendar at the same time by decreeing the
existence of a Leap Year, to occur every four years, as
at present; he attempted to harmonise the traditions
of Egypt with the science of Greece. The attempt—so
typical of Alexandria—failed, for though the priests
passed the decree they kept to their old chronology. It
was not until Julius Caesar came to Egypt that the cause
of reform prevailed. He established the “Alexandrian
Year” as official, and modelled on it the “Julian,”
which we use in Europe to-day; the two years were of
the same length, but the “Alexandrian” retained the
old Egyptian arrangement of twelve equal months.</p>

<p class='c012'>(iv). <span class='sc'>Medicine.</span></p>

<p class='c012'>Erasistratus (3rd. cent. B.C.) is the chief glory of the
Alexandrian medical school. In his earlier life he had
been a great practitioner, and had realised the connection
between sexual troubles and nervous breakdowns. In
his old age he settled in the Mouseion, and devoted himself
to research. He practised vivisection on animals,
and possibly on criminals, and he seems to have come
near to discovering the circulation of the blood. Less
severely scientific were the healing cults that sprang up
in the great temples of Serapis, both at Alexandria and
at Canopus;—cults that were continued into Christian
times under other auspices.</p>

<div class='lg-container-l'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Site of Mouseion</span>: p. <a href='#Page_105'>105</a>.</div>
      <div class='line'><span class='sc'>Map of Eratosthenes</span>: p. <a href='#i054'>37</a>.</div>
      <div class='line'><span class='sc'>Map of Claudius Ptolemy</span>: p. <a href='#i054'>39</a>.</div>
      <div class='line'><span class='sc'>Temple of Serapis at Canopus</span>: p. <a href='#Page_180'>180</a>.</div>
      <div class='line'>&nbsp;&nbsp;&nbsp;“&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;”&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<span class='sc'>Alexandria</span>: p. <a href='#Page_144'>144</a>.</div>
    </div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_43'>43</span>
  <h3 class='c001'>SECTION II.</h3>
</div>

<div class='nf-center-c0'>
<div class='nf-center c000'>
    <div>CHRISTIAN PERIOD.</div>
  </div>
</div>

<div>
  <span class='pageno' id='Page_44'>44</span>
  <h4 class='c026'>THE RULE OF ROME (B.C. 30—A.D. 313).</h4>
</div>
<p class='c007'>Octavian (Augustus) the founder of the Roman
Empire, so disliked Alexandria that after his triumph
over Cleopatra he founded a town near modern
Ramleh—Nicopolis, the “City of Victory.” He also
forbade any Roman of the governing classes to enter
Egypt without his permission, on the ground that
the religious orgies there would corrupt their morals.
The true reason was economic. He wanted to keep the
Egyptian corn supply in his own hands, and thus control
the hungry populace of Rome. Egypt, unlike the other
Roman provinces, became a private appanage of the
Emperor, who himself appointed the Prefect who governed
it, and Alexandria turned into a vast imperial granary
where the tribute, collected in kind from the cultivators,
was stored for transhipment. It was an age of exploitation.
Octavian posed locally as the divine successor
of the Ptolemies, and appears among hieroglyphs at
Dendyra and Philae. But he had no local interest at
heart.</p>

<p class='c012'>After his death things improved. The harsh ungenerous
Republic that he had typified passed into
Imperial Rome, who, despite her moments of madness,
brought happiness to the Mediterranean world for two
hundred years. Alexandria had her share of this
happiness. Her new problem—riots between Greeks
and Jews—was solved at the expense of the latter; she
gained fresh trade by the improved connections with
India (Trajan A.D. 115, recut the Red Sea Canal); she
was visited by a series of appreciative Emperors on their
way to the antiquities of Upper Egypt.</p>

<p class='c012'>In about A.D. 250 she, with the rest of the Empire,
reentered trouble. The human race, as if not designed
to enjoy happiness, had slipped into a mood of envy and
<span class='pageno' id='Page_45'>45</span>discontent. Barbarians attacked the frontiers of the
Empire, while within were revolts and mutinies. The
difficulties of the Emperors were complicated by a
religious problem. They had, for political reasons, been
emphasising their own divinity—a divinity that Egypt
herself had taught them: it seemed to them that it
would be a binding force against savagery and schism.
They therefore directed that everyone should worship
them. Who could have expected a protest, and a protest
from Alexandria?</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Ramleh</span> (Nicopolis): p. <a href='#Page_165'>165</a>.</div>
      <div class='line'><span class='sc'>Statue of Emperor</span> (Marcus Aurelius): Museum, Room 12.</div>
      <div class='line'>Imperial Coins: Museum, Room 2.</div>
      <div class='line'><span class='sc'>Certificates to Roman Soldiers</span>: Museum, Room 6.</div>
    </div>
  </div>
</div>

<h4 id='p1s2t02' class='c026'>THE CHRISTIAN COMMUNITY.</h4>
<p class='c007'>According to the tradition of the Egyptian Church,
Christianity was introduced into Alexandria by St. Mark,
who in A.D. 45 converted a Jewish shoemaker named
Annianus, and who in 62 was martyred for protesting
against the worship of Serapis. There is no means of
checking this tradition; the origins of the movement
were unfashionable and obscure, and the authorities
took little notice of it until it disobeyed their regulations.
Its doctrines were confounded partly with the Judaism
from which they had sprung, partly with the other creeds
of the city. A letter ascribed to the emperor Hadrian
(in Alexandria 134) says “Those who worship Serapis
are Christians, and those who call themselves bishops
of Christ are devoted to Serapis,” showing how indistinct
was the impression that the successors of St. Mark
had made. The letter continues “As a race of men
they are seditious, vain, and spiteful; as a body,
wealthy and prosperous, of whom nobody lives in idleness.
Some blow glass, some make paper, and others linen.
<span class='pageno' id='Page_46'>46</span>Their one God is nothing peculiar; Christians, Jews,
and all nations worship him. I wish this body of men
was better behaved.”</p>

<p class='c012'>The community was organised under its “overseer”
or bishop, who soon took the title of patriarch, and
appointed bishops elsewhere in Egypt. The earliest
centres were (i) the oratory of St. Mark which stood by
the sea shore—probably to the east of Silsileh—and was
afterwards enlarged into a Cathedral; (ii) a later cathedral
church dedicated (285) by the Patriarch Theonas
to the Virgin Mary; it was on the site of the present
Franciscan Church by the Docks. (iii) a Theological
College—the “Catechetical School,” founded about 200,
where Clement of Alexandria and Origen taught—site
unknown.</p>

<p class='c012'>It was its “bad behaviour,” to use Hadrian’s term,
that brought the community into notice—that is to say,
its refusal to worship the Emperors. To the absurd
spiritual claims of the state, Christianity opposed the
claims of the individual conscience, and the conflict was
only allayed by the state itself becoming Christian. The
conflict came to its height in Alexandria, which, more
than any other city in the Empire, may claim to have
won the battle for the new religion. Persecution, at
first desultory, grew under Decius, and culminated in
the desperate measures of Diocletian (303)—demolition
of churches, all Christian officials degraded, all Christian
non-officials enslaved. Diocletian, an able ruler—the great
column miscalled Pompey’s is his memorial—did not
persecute from personal spite, but the results were no less
appalling and definitely discredited the pagan state.
While we need not accept the Egyptian Church’s estimate
of 144,000 martyrs in nine years, there is no doubt that
numbers perished in all ranks of society. Among the
victims was St. Menas, a young Egyptian soldier who
became patron of the desert west of Lake Mariout, where
a great church was built over his grave. St. Catherine of
Alexandria is also said to have died under Diocletian,
but it is improbable that she ever lived; she and her
<span class='pageno' id='Page_47'>47</span>wheel were creations of Western Catholicism, and the
land of her supposed sufferings has only recognised her
out of politeness to the French. The persecution was
vain, the state was defeated, and the Egyptian Church,
justly triumphant, dates its chronology, not from the
birth of Christ, but from the “Era of Martyrs” (A.D.
284). A few years later the Emperor Constantine made
Christianity official, and the menace from without came
to an end.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Coin of Hadrian at Alexandria</span>: Museum, Room 2.</div>
      <div class='line'><span class='sc'>Site of St. Mark’s</span>: p. <a href='#Page_163'>163</a>.</div>
      <div class='line'><span class='sc'>Capital from St. Mark’s</span>: Museum, Room 1.</div>
      <div class='line'><span class='sc'>Site of St. Theonas</span>: p. <a href='#Page_170'>170</a>.</div>
      <div class='line'><span class='sc'>Column from St. Theonas</span>: p. 163.</div>
      <div class='line'><span class='sc'>Statue of Diocletian</span>: Museum, Room 17.</div>
      <div class='line'><span class='sc'>Coins of Diocletian</span>: Museum, Room 4.</div>
      <div class='line'><span class='sc'>Pompey’s</span> (Diocletian’s) Pillar: p. <a href='#Page_144'>144</a>.</div>
      <div class='line'><span class='sc'>Church of St. Menas</span>: p. <a href='#Page_195'>195</a>.</div>
      <div class='line'><span class='sc'>Remains from St. Menas</span>: Museum, Rooms 1, 2, 5.</div>
      <div class='line'><span class='sc'>Modern Church of St. Catherine</span>: p. <a href='#Page_142'>142</a>.</div>
      <div class='line'><span class='sc'>Pillar of St. Catherine</span>: p. <a href='#Page_106'>106</a>.</div>
      <div class='line'><span class='sc'>Certificate of having worshipped the Gods</span>: Museum, Room 6.</div>
    </div>
  </div>
</div>

<h4 id='p1s2t03' class='c026'>ARIUS AND ATHANASIUS.<br />(4th Cent. A.D.)</h4>
<p class='c007'>It was natural that Alexandria, who had suffered so
much for Christianity, should share in its triumph, and
as soon as universal toleration was proclaimed her star
reemerged. Rome, as the stronghold of Paganism, was
discredited, and it seemed that the city by the Nile might
again become Imperial, as in the days of Antony. That
hoped was dashed, for Constantine, a very cautious man,
thought it safer to found a new capital on the Bosphorus,
where no memories from the past could intrude. But
Alexandria was the capital spiritually, and at least it
seemed that she, who had helped to free imprisoned
Christendom, would lead it in harmony and peace to its
<span class='pageno' id='Page_48'>48</span>home at the feet of God. That hope was dashed too.
An age of hatred and misery was approaching. The
Christians, as soon as they had captured the machinery
of the pagan state, turned it against one another, and the
century resounds to a dispute between two dictatorial
clergymen.</p>

<p class='c012'>Both were natives of Alexandria. Arius, the older,
took duty at St. Mark’s—the vanished church by the sea
at Chatby where the Evangelist was said to have been
martyred. Learned and sincere, tall, simple in his dress,
persuasive in his speech, he was accused by his enemies
of looking like a snake, and of seducing, in the theological
sense, 700 virgins. Athanasius, his opponent, first appears
as a merry little boy, playing with other children on the
beach below St. Theonas’—on the shore of the present
western harbour, that is to say. He was playing at
Baptism, which not being in orders he had no right to do,
and the Patriarch, who happened to be looking out of
the palace window, tried to stop him. No one ever
succeeded in stopping St. Athanasius. He baptised his
playmates, and the Patriarch, struck by his precocity,
recognised the sacrament as valid and engaged the
active young theologian as his secretary. Physically
Athanasius was blackish and small, but strong and extremely
graceful—one recognises a modern street type.
His character can scarcely be discerned through the dust
of the century, but he was certainly not loveable, though
he lived to be a popular hero. His powers were remarkable.
As a theologian he knew what is true, and as a
politician he knew how truth can be enforced, and his
career blends subtlety with vigour and self-abnegation
with craft in the most remarkable way.</p>

<p class='c012'>The dispute—Arius started it—concerned the nature
of Christ. Its doctrinal import is discussed below (p. <a href='#Page_75'>75</a>);
here we are only dealing with the outward results.
Constantine who was no theologian and dubiously Christian,
was appalled by the schism which rapidly divided his
empire. He wrote, counselling charity, and when he was
ignored summoned the disputants to Nicaea on the
<span class='pageno' id='Page_49'>49</span>Black Sea (325). Two hundred and fifty bishops and
many priests attended, and amid great violence the
<i>Nicene Creed</i> was passed, and Arius condemned. Athanasius
who was still only a deacon, returned in triumph to
Alexandria, and soon afterwards became Patriarch here.
But his troubles were only beginning. Constantine, still
obsessed with hopes of toleration, asked him to receive
Arius back. He refused, and was banished himself.</p>

<p class='c012'>He was banished five times in all—once by the
orthodox Constantine (335), twice by the Arian Constantius
(338 and 356), once by the pagan Julian (362), and
once, shortly before his death, by the Arian Valens.
Sometimes he hid in the Lybian desert, sometimes he
escaped to Rome or Palestine and made Christendom
ring with his grievances. Twice he came near to death
in church—once in the Caesareum where he marched
processionally out of one door as the enemy came in at
the other, and once in St. Theonas at night, where he
escaped from the altar just before the Arian soldiers
murdered him there. He always returned, and he had
the supreme joy of outliving Arius, who fell down dead
one evening, while walking through Alexandria with a
friend. To us, living in a secular age, such triumphs
appear remote, and it seems better to die young, like
Alexander the Great, than to drag out this arid theological
Odyssey. But Athanasius has the immortality
that he would have desired. Owing to his efforts the
Church has accepted as final his opinion on the nature
of Christ, and, duly grateful, has recognised him as a
doctor and canonised him as a saint. In Alexandria a
large church was built to commemorate his name. It
stood on the north side of the Canopic Street; the
Attarine Mosque occupies part of its site to-day.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>St. Mark’s</span>: p. <a href='#Page_163'>163</a>.</div>
      <div class='line'><span class='sc'>St. Theonas’</span>: p. <a href='#Page_170'>170</a>.</div>
      <div class='line'><span class='sc'>Council of Nicaea</span>, picture of: p. <a href='#Page_106'>106</a>.</div>
      <div class='line'><span class='sc'>Nicene Creed</span>: original text containing Clause against Arius: Appendix p. <a href='#Page_218'>218</a>.</div>
      <div class='line'><span class='sc'>Caesareum</span>: p. <a href='#Page_161'>161</a>.</div>
      <div class='line'><span class='sc'>Attarine Mosque</span> (Church of St. Athanasius): p. <a href='#Page_143'>143</a>.</div>
    </div>
  </div>
</div>

<div>
  <span class='pageno' id='Page_50'>50</span>
  <h4 id='p1s2t04' class='c026'>THE RULE OF THE MONKS.<br />(4th and 5th Cents.)</h4>
</div>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Theophilus.</span></div>
      <div class='line'><span class='sc'>Cyril.</span></div>
      <div class='line'><span class='sc'>Dioscurus.</span></div>
    </div>
  </div>
</div>

<p class='c007'>After the exploits of Athanasius the Patriarchate of
Alexandria became very powerful. In theory Egypt
belonged to the Emperor, who sent a Prefect and a
garrison from Constantinople; in practise it was ruled
by the Patriarch and his army of monks. The monks
had not been important so long as each lived alone, but
by the 4th cent., they had gathered into formidable
communities, whence they would occasionally make raids
on civilisation like the Bedouins to-day. One of these
communities was only nine miles from Alexandria (the
“Ennaton”), others lay further west, in the Mariout
desert; of those in the Wady Natrun, remnants still
survive. The monks had some knowledge of theology
and of decorative craft, but they were averse to culture
and incapable of thought. Their heroes were St. Ammon
who deserted his wife on their wedding eve, or St. Antony,
who thought bathing sinful and was consequently carried
across the canals of the delta by an angel. From the
ranks of such men the Patriarchs were recruited.</p>

<p class='c012'>Christianity, which had been made official at the
beginning of the 4th century, was made compulsory
towards its close, and this gave the monks the opportunity
of attacking the worship of Serapis. Much had
now taken refuge in that ancient Ptolemaic shrine—philosophy,
magic, learning, licentiousness. The Patriarch
Theophilus led the attack. The Serapis temple at
Canopus (Aboukir) fell in 389, the parent temple at
Alexandria two years later; great was the fall of the
latter, for it involved the destruction of the Library
whose books had been stored in the cloisters surrounding
the buildings; a monastery was installed on the site.
<span class='pageno' id='Page_51'>51</span>The persecution of the pagans continued, and culminated
in the murder of Hypatia (415). The achievements of
Hypatia, like her youthfulness, have been exaggerated;
she was a middle-aged lady who taught mathematics at
the Mouseion and though she was a philosopher too we
have no record of her doctrines. The monks were now
supreme, and one of them had murdered the Imperial
Prefect, and had been canonised for the deed by the
Patriarch Cyril. Cyril’s wild black army filled the streets,
“human only in their faces,” and anxious to perform
some crowning piety before they retired to their monasteries.
In this mood they encountered Hypatia who was
driving from a lecture (probably along the course of the
present <span lang="fr" xml:lang="fr">Rue Nebi Daniel</span>), dragged her from the carriage
to the Caesareum, and there tore her to pieces with tiles.
She is not a great figure. But with her the Greece that
is a spirit expired—the Greece that tried to discover
truth and create beauty and that had created Alexandria.</p>

<p class='c012'>The monks however, have another aspect. They
were the nucleus of a national movement. Nationality
did not exist in the modern sense—it was a religious
not a patriotic age. But under the cloak of religion
racial passions could shelter, and the monks killed
Hypatia not only because they knew she was sinful but
also because they thought she was foreign. They were
anti-Greek, and later on they and their lay adherents
were given the name of Copts. “Copt” means “Egyptian.”
The language of the Copts was derived from the
ancient Egyptian, their script was Greek, with the addition
of six letters adapted from the hieroglyphs. The new
movement permeated the whole country, even cosmopolitan
Alexandria, and as soon as it found a theological
formula in which to express itself, a revolt against
Constantinople broke out.</p>

<p class='c012'>That formula is known as “Monophysism.” Its
theological import—it concerns the Nature of Christ—is
discussed below (p. <a href='#Page_76'>76</a>); here we are concerned with
its outward effects. The Patriarch Dioscurus, successor
and nephew to Cyril, is the first Monophysite hero and
<span class='pageno' id='Page_52'>52</span>the real founder of the Coptic Church. The Emperor
took up a high and mighty line, and at the Council of
Chalcedon near Constantinople Dioscurus was exiled and
his doctrines condemned (451). From that moment no
Greek was safe in Egypt. The racial trouble, which had
been averted by the Ptolemies, broke out at last and has
not even died down to-day. Before long Alexandria was
saddled with two Patriarchs. There was (i) The Orthodox
or “Royal” Patriarch, who upheld the decrees of
Chalcedon. He was appointed by the Emperor and had
most of the Church revenues. But he had no spiritual
authority over the Egyptians; to them he was an odious
Greek official, disguised as a priest. (ii) The Monophysite
or Coptic Patriarch, who opposed Chalcedon—a regular
Egyptian monk, poor, bigoted and popular. Each of
these Patriarchs claimed to represent St. Mark and the
only true church; each of them is represented by a
Patriarch in Alexandria to-day. Now and then an
Emperor tried to heal the schism, and made concessions
to the Egyptian faith. But the schism was racial, the
concessions theological, so nothing was effected. Egypt
was only held for the Empire by Greek garrisons, and
consequently when the Arabs came they conquered her
at once.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Tombstones from the Ennaton</span>: Museum, Room 1.</div>
      <div class='line'><span class='sc'>Wady Natrun</span>: p. <a href='#Page_200'>200</a>.</div>
      <div class='line'><span class='sc'>Temple of Serapis at Canopus</span>: p. <a href='#Page_180'>180</a>.</div>
      <div class='line'><span class='sc'>Temple of Serapis at Alexandria</span>: p. <a href='#Page_144'>144</a>.</div>
      <div class='line'><span class='sc'>Caesareum</span>: p. <a href='#Page_161'>161</a>.</div>
      <div class='line'><span class='sc'>Orthodox and Coptic Patriarchates</span>: p. <a href='#Page_211'>211</a>, 212.</div>
      <div class='line'><span class='sc'>Portrait of Dioscurus</span>: p. <a href='#Page_207'>207</a>.</div>
    </div>
  </div>
</div>

<h4 id='p1s2t05' class='c026'>THE ARAB CONQUEST (641).</h4>
<p class='c007'>We are now approaching the catastrophe. Its
details though dramatic are confusing. It took place
during the reign of the Emperor Heraclius, and we must
begin by glancing at his curious career.</p>

<p class='c012'><span class='pageno' id='Page_53'>53</span>Heraclius was an able and sensitive man—very
sensitive, very much in the grip of his own moods.
Sometimes he appears as a hero, a great administrator;
sometimes as an apathetic recluse. He won his empire
(610) by the sword; then the reaction came and he
allowed the Persians to occupy Syria and Egypt almost
without striking a blow. Alexandria fell by treachery.
She was safe on the seaward side, for the Persians had
no fleet, and her immense walls made her impregnable
by land; their army (which was encamped near Mex)
could burn monasteries but do nothing more. But a
foreign student—Peter was his name—got into touch
with them and revealed the secrets of her topography.
A canal ran through her from the Western Harbour,
rather to the north of the present (Mahmoudieh) canal,
and it passed, by a bridge, under the Canopic Way
(present <span lang="fr" xml:lang="fr">Rue Sidi Metwalli</span>). The harbour end of the
Canal was unguarded, and a few Persians, at Peter’s
advice, disguised themselves as fishermen and rowed in;
then walked westward down the Canopic Way and unbarred
the Gate of the Moon to the main army (617).
Their rule was not cruel; though sun-worshippers, they
persecuted neither orthodox Christians nor Copts. For
five years Heraclius did nothing; then shook off his
torpor and performed miracles. Marching against the
armies of the Persians in Asia, he defeated them and
recovered the relic of the True Cross, which they had
taken from Jerusalem. Alexandria and Egypt were
freed, and at the festival of the Exaltation of the Cross—his
coins commemorate it—the Emperor appeared as the
champion of Christendom and the greatest ruler in the
world. It is unlikely that in the hour of his triumph he
paid any attention to the envoys of an obscure Arab
Sheikh named Mohammed, who came to congratulate
him on his victory and to suggest that he should adopt a
new religion called “Peace” or “Islam.” But he is said
to have dismissed them politely. The same Sheikh also
sent envoys to the Imperial viceroy at Alexandria. He
too was polite and sent back a present that included an
<span class='pageno' id='Page_54'>54</span>ass, a mule, a bag of money, some butter and honey, and
two Coptic maidens. One of the latter, Mary, became
the Sheikh’s favourite concubine. Amidst such amenities
did our intercourse with Mohammedanism begin.</p>

<p class='c012'>Heraclius, now at the height of his power and with a
mind now vigorous, turned next to the religious problem.
He desired that his empire should be spiritually as it was
physically one, and in particular that the feud in Egypt
should cease. He was not a bigot. He believed in
tolerance, and sought a formula that should satisfy both
orthodox and Copts—both the supporters and the
opponents of the Council of Chalcedon. A disastrous
search. He had better have let well alone. The formula
that he found—Monothelism—was so obscure that no
one could understand it, and the man whom he chose as
its exponent was a cynical bully, who did not even wish
that it should be understood. This man was Cyrus,
sometimes called the Mukaukas, the evil genius of Egypt
and of Alexandria. Cyrus was made both Patriarch
and Imperial Viceroy. He landed in 631, made no
attempt to conciliate or even to explain, persecuted the
Copts, tried to kill the Coptic Patriarch and at the end of
ten year’s rule had ripened Egypt for its fall. There was
a Greek garrison in Alexandria and another to the south
of the present Cairo in a fort called “Babylon.” And
there were some other forces in the Delta and the fleet
held the sea. But the mass of the people were hostile.
Heraclius ruled by violence, though he did not realise it;
the reports that Cyrus sent him never told the truth.
Indeed, he paid little attention to them; he was paralysed
by a new terror: Mohammedanism. His nerve failed
him again, as at the Persian invasion. Syria and the
Holy Places were again lost to the Empire, this time for
ever. Broken in health and spirits, the Emperor slunk
back to Constantinople, and there, shortly before he
died, Cyrus arrived with the news that Egypt had been
lost too.</p>

<p class='c012'>What happened was this. The Arab general Amr
had invaded Egypt with an army of 4000 horse. Amr
<span class='pageno' id='Page_55'>55</span>was not only a great general. He was an administrator,
a delightful companion, and a poet—one of the ablest
and most charming men that Islam ever produced. He
would have been remarkable in any age; he is all the
more remarkable in an age that was petrified by theology.
Riding into Egypt by the coast where Port Said stands
now, he struck swiftly up the Nile, defeated an Imperial
army at Heliopolis and invested the fort of Babylon.
Cyrus was inside it. His character, like the Emperor’s,
had collapsed. He knew that no native Egyptian would
resist the Arabs, and he may have felt, like many of his
contemporaries, that Christianity was doomed, that its
complexities were destined to perish before the simplicity
of Islam. He negotiated a peace, which the Emperor
was to ratify. Heraclius was furious and recalled him
to Constantinople. But the mischief had been done;
all Egypt, with the exception of Alexandria, had been
abandoned to the heathen.</p>

<p class='c012'>Alexandria was surely safe. In the first place the
Arabs had no ships, and Amr, for all his courage, was not
the man to build one. “If a ship lies still,” he writes,
“it rends the heart; if it moves it terrifies the imagination.
Upon it a man’s power ever diminishes and
calamity increases. Those within it are like worms in a
log, and if it rolls over they are drowned.” Alexandria
had nothing to fear on the seaward side from such a foe
and on the landward what could he do against her superb
walls, defended by all the appliances of military science?
Amr, though powerful, had no artillery. His was purely
a cavalry force. And there was no great alarm when,
from the south east, the force was seen approaching and
encamping somewhere beyond the present Nouzha Gardens.
Moreover the Patriarch Cyrus was back, and had
held a great service in the Caesareum and exhorted the
Christians to arms. Indeed it is not easy to see why
Alexandria did fall. There was no physical reason for it.
One is almost driven to say that she fell because she had
no soul. Cyrus, for the second time, betrayed his trust.
He negotiated again with the Arabs, as at Babylon, and
<span class='pageno' id='Page_56'>56</span>signed (Nov. 8th, 641) an armistice with them, during
which the Imperial garrison evacuated the town. Amr
did not make hard terms; cruelty was neither congenial
to him nor politic. Those inhabitants who wished to
leave might do so; the rest might worship as they wished
on payment of tribute.</p>

<p class='c012'>The following year Amr entered in triumph through
the Gate of the Sun that closed the eastern end of the
Canopic Way. Little had been ruined so far. Colonnades
of marble stretched before him, the Tomb of Alexander
rose to his left, the Pharos to his right. His
sensitive and generous soul may have been moved, but
the message he sent to the Caliph in Arabia is sufficiently
prosaic. “I have taken,” he writes, “a city of which
I can only say that it contains 4,000 palaces, 4,000 baths,
400 theatres, 1,200 greengrocers and 40,000 Jews.” And
the Caliph received the news with equal calm, merely
rewarding the messenger with a meal of bread and oil and
a few dates. There was nothing studied in this indifference.
The Arabs could not realise the value of their
prize. They knew that Allah had given them a large
and strong city. They could not know that there was
no other like it in the world, that the science of Greece
had planned it, that it had been the intellectual birthplace
of Christianity. Legends of a dim Alexander, a
dimmer Cleopatra, might move in their minds, but they
had not the historical sense, they could never realise what
had happened on this spot nor how inevitably the city
of the double harbour should have arisen between the
lake and the sea. And so though they had no intention
of destroying her, they destroyed her, as a child might a
watch. She never functioned again for over 1,000 years.</p>

<p class='c012'>One or two details are necessary, to complete this
sketch of the conquest. It had been a humane affair,
and no damage had been done to property; the library
which the Arabs are usually accused of destroying had
already been destroyed by the Christians. A few years
later, however, some damage was done. Supported by
an Imperial fleet, the city revolted, and Amr was obliged
<span class='pageno' id='Page_57'>57</span>to re-enter it by force. There was a massacre, which he
stayed by sheathing his sword; the Mosque of Amr or
of Mercy was built upon the site. As governor of
Egypt, he administered it well, but his interests lay
inland not on the odious sea shore, and he founded a
city close to the fort of Babylon—Fostat, the germ of the
modern Cairo. Here all the life of the future was to
centre. Here Amr himself was to die. As he lay on his
couch a friend said to him: “You have often remarked
that you would like to find an intelligent man at the
point of death, and to ask him what his feelings were.
Now I ask you that question.” Amr replied, “I feel
as if the heaven lay close upon the earth and I between
the two, breathing through the eye of a needle.” There
is something in this dialogue that transports us into a
new world; it could never have taken place between
two Alexandrians.</p>
<div class='lg-container-l c038'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Coin of Heraclius, showing Cross</span>: Museum, Room 4.</div>
      <div class='line'><span class='sc'>Rosetta Gate</span> (Gate of the Sun): p. <a href='#Page_121'>121</a>.</div>
      <div class='line'><span class='sc'>Mosque of Amr</span>: p. <a href='#Page_144'>144</a>.</div>
    </div>
  </div>
</div>

<p class='c007'>Such were the chief physical events in the city
during the Christian Period. We must now turn back
to consider another and more important aspect: the
spiritual.</p>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_59'>59</span>
  <h3 class='c001'>SECTION III.</h3>
</div>
<hr class='c025' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div><span class='xlarge'>THE SPIRITUAL CITY.</span></div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_60'>60</span>
  <h4 class='c026'>INTRODUCTION.</h4>
</div>
<p class='c007'>When Cleopatra died and Egypt became part of the
Roman Empire, it seemed that the career of Alexandria
was over. Her life had centred round the Ptolemies who
had adorned her with architecture and scholarship and
song, and when they were withdrawn what remained?
She was just a provincial capital. But the vitality of a
city is not thus measured. There is a splendour that
kings do not give and cannot take away, and just when
she lost her outward independence she was recompensed
by discovering the kingdom that lies within. Three
sections of her citizens—Jews, Greeks and Christians—were
attracted by the same spiritual problem, and tried
to solve it in the same way.</p>

<p class='c012'><i>The Problem.</i> It never occurred to these Alexandrian
thinkers, as it had to some of their predecessors in
ancient Greece, that God might not exist. They assumed
that he existed. What troubled them was his relation to
the rest of the universe and particularly to Man. Was
God close to man? Or was he far away? If close, how
could he be infinite and eternal and omnipotent? And
if far away, how could he take any interest in man, why
indeed should he have troubled to create him? They
wanted God to be both far and close.</p>

<p class='c012'><i>The Solution.</i> Savages solve such a problem by
having two gods—a pocket fetich whom they beat when
he irritates them, and a remote spirit in the sky, and
they do not try to think out any connection between the
two. The Alexandrians, being cultivated, could not
accept such crudities. Instead, they assumed that
between God and man there is an intermediate being or
beings, who draw the universe together, and ensure that
though God is far he shall also be close. They gave
<span class='pageno' id='Page_61'>61</span>various names to this intermediate being, and ascribed
to him varying degrees of dignity and power. But they
became as certain of his existence as of God’s, for in
philosophy their temperament was mystic rather than
scientific, and as soon as they hit on an explanation of
the universe that was comforting, they did not stop to
consider whether it might be true.</p>

<p class='c012'>After this preliminary, let us approach the three great
sections of Alexandrian thought.</p>
<div>
  <span class='pageno' id='Page_62'>62</span>
  <h4 class='c026'>I. THE JEWS.</h4>
</div>
<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>The Septuagint</span>—about B.C. 200.</div>
      <div class='line'><span class='sc'>The Wisdom of Solomon</span>—about B.C. 100.</div>
      <div class='line'><span class='sc'>Philo</span>—cont. with Christ.</div>
    </div>
  </div>
</div>

<p class='c007'>The seat of the Jews was Jerusalem, where they had
evolved their cult of Jehovah and built him his unique
temple. But as soon as Alexandria was founded they
began to emigrate to the lucrative and seductive city,
and to take up their quarters near the modern Ibrahimieh.
Soon a generation arose that was Greek in speech. The
Hebrew Scriptures had to be translated for their benefit,
and seventy rabbis—so the legend goes—were shut up
by Ptolemy Philadelphus in seventy huts on the island
of Pharos, whence they simultaneously emerged with
seventy identical translations of the Bible. This was
the famous Septuagint version—made as a matter of
fact over many years, and not completed till B.C. 130.</p>
<hr class='c014' />
<p class='c012'>But the new generation was Greek in spirit as well
as speech, and diverged increasingly from the conservative
Jews at Jerusalem. Both sections worshipped
Jehovah, but the Alexandrian grew more and more
conscious of the churlishness and inaccessibility of his
national god. Thought mingled with his adoration. How
could he link Jehovah to man? And, utilising a few
hints in the orthodox scriptures, he produced as his first
attempt a fine piece of literature called “The Wisdom of
Solomon”; it is at present included in the Apocrypha.
The author—his name is unknown—not only wrote in
Greek but had studied Stoic and Epicurean Philosophy
and Egyptian rites. He had the cosmopolitan culture
of Alexandria. And, solving his problem in the Alexandrian
way, he conceived an intermediate between
Jehovah and man whom he calls Sophia or Wisdom.</p>

<p class='c028'><span class='pageno' id='Page_63'>63</span>Wisdom is more moving than any motion: she goeth
through all things by reason of her pureness. Being but one
she can do all things and in all ages entering into holy souls
she makes them friends of God, and prophets. She is more
beautiful than the sun and all the order of stars: being
compared with the light she is found beyond it. For after
this cometh night, but vice shall not prevail against
wisdom.</p>

<p class='c029'>In such a passage Wisdom is more than “being
wise.” She is a messenger who bridges the gulf and
makes us friends of God.</p>
<hr class='c014' />
<p class='c012'>In Philo the Jewish school of Alexandria reaches its
height. Little is known of his life. His brother was
head of the Jewish community here and he himself was
sent (A.D. 40) on a disastrous embassy to the mad
Emperor Caligula at Rome.</p>

<p class='c012'>Being an orthodox Jew, he states his philosophic
problem in the language of the Old Testament. Thus:—</p>

<p class='c012'>Jehovah had said <span class='sc'>I am that I am</span>—that is to say,
nothing can be predicated about God except existence.
God has no qualities, no desires, no form, and no home.
We cannot even call God “God” because “God” is a
word, and no word can describe God. While to regard
him as a man is to commit “an error greater than the
sea.” God <span class='fss'>IS</span>, and no more can be said of him.</p>

<p class='c012'>Yet this unapproachable being has created us. How?
And why?</p>

<p class='c012'>Through his Logos or Word. This Logos of Philo
is, like “Wisdom,” a messenger who bridges the gulf.
He is the outward expression of God’s existence. He
created and he sustains the world, and Philo uses the
actual language of devotion concerning him, calling him
Israel the Seer, the Dove, the Dweller in the Inmost,—language
which naturally recalls and possibly suggested
the opening of St. John’s Gospel. “In the beginning was
the Word, and the Word was with God.” Philo might
have written this. But he could not have written “the
Word was God” nor “the Word was made flesh” for it
was, as we shall see, the distinction of Christianity to
<span class='pageno' id='Page_64'>64</span>conceive that the link between Man and God should be
himself both God and Man.</p>

<p class='c012'>By this doctrine of the Logos, Philo made the
Hebrew Jehovah intelligible and acceptable to the
Alexandrian Jews. It is a doctrine not found in the
Old Testament, and to extract it he had to employ
allegory and to wrest words from their natural meanings.
This gives his philosophy a frigid timid air, and obscures
its real sublimity. Only once or twice does he break
loose, and declare that the path to truth lies not through
allegory but through vision. “Those who can see” he
exclaims, “lift their eyes to heavens, and contemplate
the Manna, the divine Logos. Those who cannot see,
look at the onions in the ground.” After his death, the
Jews of Alexandria accomplished no more in philosophy.
They had stated the problem. The restatement was
for the Greeks and the Christians.</p>
<div class='lg-container-l c038'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Jewish Inscriptions from Ibrahimieh</span>: Museum, Room 21.</div>
    </div>
  </div>
</div>

<h4 id='p1s3t02' class='c026'>II. NEO-PLATONISM.</h4>
<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Plotinus</span> (204-262).</div>
      <div class='line'><span class='sc'>Porphyry</span> (233-306).</div>
      <div class='line'><span class='sc'>Hypatia</span> (d. 415).</div>
    </div>
  </div>
</div>

<p class='c007'>The Ptolemies had imported some Greek philosophers,
as part of the personnel of the Mouseion, but
they were second-rate, and it was not until the Ptolemies
had passed away, and the city herself was declining,
that philosophy took root and bore the white mystic
rose of Neo-Platonism. It developed out of a doctrine
of Plato’s. Six hundred years before, Plato had taught
at Athens that the world we live in is an imperfect copy
of an ideal world. He had also taught other things, but
this was the doctrine that the “New Platonists” of Alexandria
took up and pursued to sublime and mystic conclusions.
Whatever Plato had thought of this world as
a philosopher, he had enjoyed it as a citizen and a poet,
<span class='pageno' id='Page_65'>65</span>and has left delightful accounts of it in his dialogues.
The Neo-Platonists were more logical. Since this world
is imperfect, they regarded it as negligible, and excluded
from their writings all references to daily life. They
might be disembodied spirits, freed from locality and
time, and it is only after careful study that we realise
that they too were human,—nay, that they were typically
Alexandrian, and that in them the later city finds her
highest expression.</p>
<hr class='c014' />
<p class='c012'>The School was founded by Ammonius Saccas, who
had begun life as a porter in the docks, and as a Christian,
but abandoned both professions for the study of Plato.
Nothing is known of his teaching, but he produced great
pupils—Longinus, Origen, and, greatest of all, Plotinus.
Plotinus was probably born at Assiout; probably; no
one could find out for certain because he was reticent
about it, saying that the descent of his soul into his body
had been a great misfortune, which he did not desire to
discuss. He completed his main training at Alexandria,
and then took part in a military expedition against
Persia, in order to get into touch with Persian thought
(Zoroastrianism), and with Indian thought (Hinduism,
Buddhism). He must have made a queer soldier and he
was certainly an unsuccessful one, for the expedition
suffered defeat, and Plotinus was very nearly relieved of
the disgrace of having a body. Escaping, he made his
way to Rome, and remained there until the end of his
life, lecturing. In spite of his sincerity, he became
fashionable, and the psychic powers that he had acquired
not only gained him, on four occasions, the Mystic Vision
which was the goal of his philosophy, but also discovered
a necklace which had been stolen from a rich lady by
one of her slaves. He was indifferent to literary composition;
after his death his pupil Porphyry collected his
lecture-notes and published them in nine volumes—the
“Enneads.” The Enneads are ill arranged and often
obscure. But they contain a logical system of thought,
some account of which must be attempted—Alexandria
<span class='pageno' id='Page_66'>66</span>produced nothing greater. And they deal with the usual
Alexandrian problem—the linking up of God and Man.</p>

<p class='c012'>Like Philo, and like the Christians, Plotinus believes
in God, and since his God has three grades, we may
almost say that he believes in a Trinity. But it is very
different to the Christian Trinity, and even more difficult
to understand. The first and highest grade in it he calls
the One. The One is—Unity, the One. Nothing else
can be predicated about it, not even that it exists; it
is more incomprehensible than the Jehovah of Philo; it
has no qualities, no creative force, it is good only as the
goal of our aspirations. But though it cannot create, it
overflows (somewhat like a fountain), and from its overflow
or emanation is generated the second grade of the
Trinity—the “Intellectual Principle.” The Intellectual
Principle is a little easier to understand than the “One”
because it has a remote connection with our lives. It is
the Universal mind that contains—not all things, but all
thoughts of things, and by thinking it creates. It
thinks of the third grade—the All Soul—which accordingly
comes into being. With the All Soul we near the
realm of the comprehensible. It is the cause of the
Universe that we know. All that we grasp through the
senses was created by it—the Gods of Greece, etc. in the
first place, then the demi-gods and demons, then, descending
in the scale, ourselves, then animals, plants, stones;
matter, that seems so important to us, is really the last
and feeblest emanation of the All Soul, the point at
which creative power comes to a halt.—And these three
grades, the “One,” the “Intellectual Principle,” and
the “All Soul,” make up between them a single being,
God; who is three in one and one in three, and the goal
of all creation.</p>

<p class='c012'>Thus far the system of Plotinus may appear unattractive
as well as abstruse; we must now look at the
other and more emotional side. Not only do all things
flow from God; they also strive to return to him; in
other words, the whole Universe has an inclination
towards good. We are all parts of God, even the stones,
<span class='pageno' id='Page_67'>67</span>though we cannot realise it; and man’s goal is to
become actually, as he is potentially, divine. Therefore
rebirth is permitted, in order that we may realise God
better in a future existence than we can in this; and
therefore the Mystic Vision is permitted, in order that,
even in this existence we may have a glimpse of God.
God is ourself, our true self, and in one of the few
literary passages in the Enneads, the style of Plotinus
catches fire from his thought and we are taught in words
of immortal eloquence, how the Vision may be obtained.</p>

<p class='c028'>But what must we do? How lies the path? How
come to vision of the inaccessible Beauty, dwelling as if in
consecrated precincts, apart from the common ways where all
men may see?</p>

<p class='c034'>“Let us flee to the beloved Fatherland.” This is the
soundest counsel. But what is the flight? How are we to
gain the open sea?</p>

<p class='c034'>The Fatherland is There whence we have come, and
There is the Father.</p>

<p class='c034'>What then is our course, what the manner of our flight?
This is not a journey for the feet; the feet bring us only
from land to land; all this order of things you must set aside
and refuse to see; you must close the eyes and call instead
upon another vision which is to be waked within you, a vision
the birth-right of all, which few can see....</p>

<p class='c034'>Withdraw into yourself and look. And if you do not
find yourself beautiful yet, act as does the creator of a statue
that is to be made beautiful; he cuts away here, he smooths
there, he makes this line lighter, that purer, until a lovely
face has grown upon his work.</p>

<p class='c034'>When you know that you have become this perfect
work, when you are self-gathered in the purity of your being,
nothing now remaining that can shatter that inner unity—when
you perceive that you have grown to this, you are now
become very vision; now call up all your confidence, strike
forward yet a step—you need a guide no longer—forward
yet a step—you need a guide no longer—strain and see.</p>

<p class='c034'>This is the only eye that sees the mighty Beauty. If
the eye that ventures the vision be dimmed by vice, impure
or weak, then it sees nothing even though another point to
what lies plain before it. To any vision must be brought
an eye adapted to what is to be seen, and having some
resemblance to it. Never did eye see the sun unless it had
first become sunlike, and never can the soul have vision of
the first Beauty unless itself be beautiful.<a id='r4' /><a href='#f4' class='c036'><sup>[4]</sup></a></p>
<div class='footnote c037' id='f4'>
<p class='c013'><span class='label'><a href='#r4'>4</a>.&nbsp;&nbsp;</span>S. McKenna’s Translation.</p>
</div>

<p class='c012'><span class='pageno' id='Page_68'>68</span>This sublime passage suggests three comments,
with which our glance at Plotinus must close. In the
first place its tone is religious, and in this it is typical of
all Alexandrian philosophy. In the second place it lays
stress on behaviour and training; the Supreme Vision
cannot be acquired by magic tricks—only those will see
it who are fit to see. And in the third place the vision of
oneself and the vision of God are really the same, because
each individual is God, if only he knew it. And here is
the great difference between Plotinus and Christianity.
The Christian promise is that a man shall see God, the
Neo-Platonic—like the Indian—that he shall be God.
Perhaps, on the quays of Alexandria, Plotinus talked
with Hindu merchants who came to the town. At all
events his system can be paralleled in the religious
writings of India. He comes nearer than any other
Greek philosopher to the thought of the East.</p>
<hr class='c014' />
<p class='c012'>Porphyry, the pious disciple of Plotinus, was himself
a philosopher of note, and the Neo-Platonic School continued
to flourish all through the 4th cent. Its main
temper kept the same; it was pessimistic as regards the
actual world and actual men, but optimistic as regards
the future because it believed that the world and all in it
has emanated from God and has been granted the means
of reverting to him. It recognised the presence of Evil
but not its eternal existence, and consequently it was a
practical support to its believers, and upheld the last of
them, Hypatia, through martyrdom.</p>

<div class='lg-container-l c015'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'>When I do contemplate your words and you</div>
      <div class='line'>revered Hypatia, then I kneel to view</div>
      <div class='line'>the Virgin’s starry home; there in the skies</div>
      <div class='line'>your works and perfect words I recognise,</div>
      <div class='line'>a star unsullied of instruction wise.<a id='r5' /><a href='#f5' class='c036'><sup>[5]</sup></a></div>
    </div>
  </div>
</div>

<div class='footnote c037' id='f5'>
<p class='c013'><span class='label'><a href='#r5'>5</a>.&nbsp;&nbsp;</span>Translated by R. A. Furness.</p>
</div>

<p class='c012'>Thus wrote an unknown admirer at the beginning
of the 5th Century. None of Hypatia’s discourses have
been preserved, but we know that with her and with
her father, Theon, the great tradition of Plotinus expired
at Alexandria.</p>

<div>
  <span class='pageno' id='Page_69'>69</span>
  <h4 id='p1s3t03' class='c026'>III. CHRISTIANITY.</h4>
</div>
<h5 id='p1s3t03-0' class='c035'><span class='fss'>INTRODUCTION.</span></h5>
<p class='c007'>Percolating through the Jewish Communities, the
Christian religion reached Egypt as early as the 1st cent.
A.D. On its arrival, it found, already established there,
two distinct forms of spiritual life.</p>
<hr class='c014' />
<p class='c012'>The first was the spiritual life of Ancient Egypt,
which had clung to the soil of the Nile valley for over
4,000 years. It had existed so long that though Christianity
could close its temples she never quite uprooted
it from the heart of the people. The resurrection of
Osiris as Sun God; the partaking of him as Corn God by
the blessed in the world below; the beneficent group of
the mother Isis with Horus her child; the same Horus
as a young warrior slaying the snaky Set; the key-shaped
“ankh” that the gods and goddesses carried as a
sign of their immortality:—these symbols had sunk too
deeply into the minds of the native Egyptians to be
removed by episcopal decrees. Consequently there were
cases of reversion—e.g. at Menouthis (near Aboukir) in
480, when some villagers were discovered worshipping
the ancient deities in a private house. And there were
also cases of confusion, where the old religion passed
imperceptibly into the new. Did Christianity borrow
from the Osiris cult her doctrines of the Resurrection and
Personal Immortality, and her sacrament of the Eucharist?
The suggestion has been made. It is more certain
that she borrowed much of her symbolism and popular
art. Isis and Horus become the Virgin and Child, Horus
and Set St. George and the Dragon, while the “ankh”
appears unaltered on some of the Christian tomb stones
as a looped cross, and slightly altered on others as a
cross with a handle.</p>

<p class='c012'><span class='pageno' id='Page_70'>70</span>The second form of spiritual life was the life of
Alexandria. Its quality (mainly Hellenic and philosophic)
has already been indicated. Christianity, to begin with,
was not philosophic, being addressed to poor and unfashionable
people in Palestine. But as soon as it reached
Alexandria its character altered, the turning point in its
worldly career arrived. The Alexandrians were highly
cultivated, they had libraries where all the wisdom of the
Mediterranean was accessible, and their faith inevitably
took a philosophic form. Occupied by their favourite
problem of the relation between God and Man, they at
once asked the same question of the new religion as they
asked the Jews and the Greeks—namely, What is the
link? Philo said the Logos, Plotinus the Emanations.
The new religion replied “Christ.” There was nothing
startling to the Alexandrians in such a reply. Christ too
was the Word, he too proceeded from the Father. His
incarnation, his redemption of mankind through suffering—even
these were not strange ideas to people who were
accustomed to “divine” kings, and familiar with the
myths of Prometheus and Adonis. Alexandrian orthodoxy,
Alexandrian heresies, both centred round the
problem that was familiar to Alexandrian paganism—the
relation between God and Man.</p>
<hr class='c014' />
<p class='c012'>Thus Christianity did not burst upon Egypt or
upon Alexandria like a clap of thunder, but stole into
ears already prepared. Neither on her popular nor on
her philosophic side was she a creed apart. Only politically
did she stand out as an innovator, through her denial
of divinity to the Imperial Government at Rome.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Ankh</span>: Museum, Room 8.</div>
      <div class='line'><span class='sc'>Early Christian Crosses</span>: Museum, Room 1.</div>
      <div class='line'><span class='sc'>Isis and Horus</span>: Museum, Room 10.</div>
      <div class='line'><span class='sc'>Menouthis</span>: p. <a href='#Page_183'>183</a>.</div>
    </div>
  </div>
</div>

<div>
  <span class='pageno' id='Page_71'>71</span>
  <h5 id='p1s3t03-1' class='c035'>(I). <span class='sc'>Gnosticism</span> (Esoteric knowledge).</h5>
</div>
<div class='lg-container-l c038'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Cerinthus</span>—About 100 A.D.</div>
      <div class='line'><span class='sc'>Basilides</span>—120.</div>
      <div class='line'><span class='sc'>Valentinus</span>—140.</div>
    </div>
  </div>
</div>

<p class='c029'>Gnosticism taught that the world and mankind are
the result of an unfortunate blunder. God neither
created us nor wished us to be created. We are the work
of an inferior deity, the Demiurge, who wrongly believes
himself God, and we are doomed to decay. But God,
though not responsible for our existence, took pity on it,
and has sent his Christ to counteract the ignorance of the
Demiurge and to give us Gnosis (knowledge). Christ is
the link between the divine and that unfortunate mistake
the human.</p>

<p class='c012'>The individual Gnostics played round this idea.
Cerinthus (educated here) taught that Jesus was a man,
and Christ a spirit who left him at death. Basilides (a
Syrian visitor) that there were three dispensations, pre-Jewish,
Jewish, and Christian, each of whose rulers had
a son, which son comprehended more of God than did
his father. The Ophites worshipped snakes because the
serpent in Eden was really a messenger from God, who
induced Eve to disobey the Demiurge Jehovah. Consequently
if we wish to be good we must be bad—a
conclusion that was also reached, though by a different
route, by Carpocrates, who organised an Abode of Love
on one of the Greek islands. These are unsavoury
charlatans. But one of the Gnostics—Valentinus—was
a man of another stamp, and his system has a tragic
quality most rare in Alexandria.</p>

<p class='c012'>Valentinus (probably an Egyptian; educated here;
taught mainly at Rome) held the usual Gnostic doctrine
that creation is a mistake. But he tried to explain how
the mistake came about. He imagines a primal God, the
centre of a divine harmony, who sent out manifestations
of himself in pairs of male and female. Each pair was
inferior to its predecessor, and Sophia (“wisdom”) the
female of the thirtieth pair, least perfect of all. She
<span class='pageno' id='Page_72'>72</span>showed her imperfection not, like Lucifer, by rebelling
from God, but by desiring too ardently to be united to
him. She fell through love. Hurled from the divine
harmony, she fell into matter, and the universe is formed
out of her agony and remorse. She herself was rescued
by the first Christ but not before she had born a son, the
Demiurge, who rules this world of sadness and confusion,
and is incapable of realising anything beyond it. In this
world there are three classes of men, all outwardly the
same, men of the Body, the Spirit, and the Soul. The
first two belong to the Demiurge and ought to obey him.
The third are really the elect of his mother Sophia. He
rules them but cannot make them obey. It was for
their salvation that the Christ whom we call Jesus
descended straight from the primal God and left with
his twelve disciples the secret tradition of the Gnosis.</p>

<p class='c012'>With Valentinus the Gnosticism of Alexandria
reaches its height. Further east it took other forms. It
had spread by 150 A.D. all round the Mediterranean, and
threatened to defeat orthodox Christianity. But it was
pessimistic, imaginative, esoteric—three great obstacles
to success. It was not a creed any society could adopt,
being anti-social, and by the time of Constantine its
vogue was over.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Gnostic Amulets</span>: Museum, Room 17.</div>
    </div>
  </div>
</div>

<h5 id='p1s3t03-2' class='c035'>(II). <span class='sc'>Orthodoxy.</span> (Early).</h5>
<div class='lg-container-l c039'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Clement of Alexandria</span>—about 200.</div>
      <div class='line'><span class='sc'>Origen</span>—185-253.</div>
    </div>
  </div>
</div>

<p class='c029'>Orthodoxy at Alexandria did not begin on clear cut
lines; indeed the more we look at it the more it melts
into its surroundings. It adapted from Philo his doctrine
of the Logos, and identified the Logos with Christ. It
shared with Gnosticism the desire for knowledge of God,
while declaring that such knowledge need not be esoteric.
It has its special Gospel—St. Mark’s—but other Gospels,
<span class='pageno' id='Page_73'>73</span>since condemned as uncanonical, were equally read in its
churches, e.g. the Gospels of the Hebrews and of the
Egyptians. It was permeated by Greek thought—Neo-Platonists
became Christians, and <i><span lang="la" xml:lang="la">vice versa</span></i>. But one
distinguishing doctrine it did have—the supreme value
of Christ. Christ was the “Word” incarnate, through
whom the love and power of God could alone be “known.”
Problems as to Christ’s nature did not trouble the earlier
theologians. Their impulse was to testify, not to analyse.
A feeling of joy inspires their interminable writings, and
it is possible to detect through their circumlocution the
faith that steeled the martyrs, their contemporaries.</p>

<p class='c012'>Clement of Alexandria (probably a Greek from
Athens) was head of the big theological college here.
His problem, like that of the Jews before him, was to
recommend his religion to a subtle and philosophic city,
and his methods forestall those of the advanced missionary
to-day. He does not denounce Greek philosophy. His
line is that it is a preparation for the Gospel, that the
Jewish law was also a preparation, and that all that
happened before the birth of Christ is indeed a divine
approach to that supreme event. Learned and enlightened,
he set Christianity upon a path that she did not
long consent to follow. He raised her from intellectual
obscurity, he lent her for a little Hellenic persuasion, and
the graciousness of Greece seems in his pages not incompatible
with the Grace of God.</p>

<p class='c028'>He is the greatest in the Kingdom of Heaven who shall
do and teach in imitation of God by showing free Grace like
His; for the bounties of God are for the common benefits.</p>

<p class='c029'>Only in Alexandria could such a theologian have arisen.</p>

<p class='c012'>His work was carried on by his pupil Origen, the
strangest and most adventurous of the Early Fathers.
Gentle and scholarly by nature, Origen had an instinct
for self-immolation that troubled his life and the lives
of his friends. He was an Egyptian (the name is connected
with Horus), and he was born here of Christian
parents and tried as a boy to share his father’s martyrdom
<span class='pageno' id='Page_74'>74</span>at the Temple of Serapis. Calmed for a while, he supported
his mother and brothers, and was fellow pupil
with Plotinus. Then he became head of the Theological
College, and having attained fame as a teacher and lay
preacher, castrated himself (a “Eunuch for the Kingdom
of Heaven’s sake.”—Matt. xix, 12). His patron, the
Bishop of Alexandria, disowned him for this, and ruled
that he could not now take orders; other bishops
declared that he could, and the Christian communities
were divided by the grotesque controversy. Origen was
considerate and even repentant; he had no wish to
cause scandal, and when ordered to leave Alexandria he
obeyed. But his opinions ever verged towards the incorrect;
he believed, like Plotinus, in pre-existence, he
disbelieved in the eternity of punishment, and it is with
the greatest hesitation that orthodoxy has received him
to her bosom. In the main he developed the theory of
his master Clement—that Christianity is the heir of the
past and the interpreter of the future,—and he taught
that Christ has been with mankind not only at his incarnation
but since the beginning of creation, and has in all
ages linked them, according to their capacity, with God.</p>
<hr class='c014' />
<p class='c012'>Thus the characteristic of early orthodoxy was a
belief in Christ as the link between God and Man. A
humanising belief; the work of the Greek scholars who
had subtilised and universalised the simpler faith of
Palestine, and had imparted into it doctrines taught by
Paganism. We must now watch it harden and transform.
Several causes transformed it—e.g. the growth
of an ignorant monasticism in Egypt, the growth in
Northern Africa, of a gloomier type of Christianity under
Tertullian, and the general spirit of aggression the new
religion everywhere displayed as soon as Constantine
labelled it as official. But there was one cause that was
inherent in the belief itself, and that alone concerns us
here. Christ was the Son of God. All agreed. But
what was the <i>Nature</i> of Christ? The subtle Alexandrian
intellect asked this question about the year 300, and the
<span class='pageno' id='Page_75'>75</span>Arian heresy was the result. It asked it again about 400
and produced the Monophysite heresy. And a third
query about 600 produced a third heresy, the Monothelite.
Let us glance at these three in turn. Heresies
to others, they were of course orthodox in their own eyes.
Each believed itself the only interpreter of the link that
binds God to Man.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Uncanonical Gospels</span>: Appendix p. <a href='#Page_217'>217</a>.</div>
    </div>
  </div>
</div>

<h5 id='p1s3t03-3' class='c035'>(III). <span class='sc'>Arianism.</span></h5>
<p class='c007'>Christ is the Son of God. Then is he not younger
than God? Arius held that he was and that there was
a period before time began when the First Person of the
Trinity existed and the Second did not. A typical
Alexandrian theologian, occupied with the favourite
problem of linking human and divine, Arius thought
to solve the problem by making the link predominately
human. He did not deny the Godhead of Christ, but he
did make him inferior to the Father—of <i>like</i> substance,
not of the <i>same</i> substance, which was the view held by
Athanasius, and stamped as orthodox by the Council of
Nicaea. Moreover the Arian Christ, like the Gnostic
Demiurge, made the world;—creation, an inferior activity,
being entrusted to him by the Father, who had
Himself created nothing but Christ.</p>

<p class='c012'>It is easy to see why Arianism became popular.
By making Christ younger and lower than God it brought
him nearer to us—indeed it tended to level him into a
mere good man and to forestall Unitarianism. It
appealed to the untheologically minded, to emperors
and even more to empresses. But St. Athanasius, who
viewed the innovation with an expert eye, saw that
while it popularised Christ it isolated God, and he fought
it with vigour and venom. His success has been described
(p. <a href='#Page_47'>47</a>). It was condemned as heretical in 325,
and by the end of the century had been expelled from
orthodox Christendom. Of the theatre of this ancient
<span class='pageno' id='Page_76'>76</span>strife no trace remains at Alexandria; the church of
St. Mark where Arius was presbyter has vanished: so
have the churches where Athanasius thundered—St.
Theonas and the Caesareum. Nor do we know in which
street Arius died of epilepsy. But the strife still continues
in the hearts of men, who always tend to magnify
the human in the divine, and it is probable that many an
individual Christian to-day is an Arian without knowing it.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Nicene Creed</span> (original text): Appendix p. <a href='#Page_218'>218</a>.</div>
      <div class='line'><span class='sc'>Picture of Council of Nicaea</span>: p. <a href='#Page_106'>106</a>.</div>
    </div>
  </div>
</div>

<h5 id='p1s3t03-4' class='c035'>(IV). <span class='sc'>Monophysism.</span> (“Single Nature.”)</h5>
<p class='c007'>Christ is the Son of God, but also the Son of Mary.
Then has he two natures or one? The Monophysites
said “one.” They did not deny Christ’s incarnation,
but they asserted that the divine in him had quite absorbed
the human. The question was first raised in
clerical circles in Constantinople, but Alexandria took
it up hotly, and “Single Nature” became the national
cry of Egypt. We have already seen (p. <a href='#Page_51'>51</a>) the political
importance of this heresy, how it was connected with a
racial movement against the Greeks, how when it was
condemned at Chalcedon (451) Egypt slipped into permanent
mutiny against the Empire. The Council
announced that Christ had two natures, unmixed and
unchangeable but at the same time indistinguishable
and inseparable. This is the orthodox view—the one we
hold. The Copts (and Abyssinians) are still Monophysites,
and consequently not in communion with the rest
of Christendom.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Coptic Church</span>: p. <a href='#Page_160'>160</a>, 212.</div>
    </div>
  </div>
</div>

<h5 id='p1s3t03-5' class='c035'>(V). <span class='sc'>Monothelism.</span> (“Single Will.”)</h5>
<p class='c007'>As the minds of the Alexandrians decayed, their
heresies became more and more technical. Arianism
enshrines a real problem which the layman as well as the
<span class='pageno' id='Page_77'>77</span>cleric can apprehend. Monophysism is more remote.
And Monothelism is difficult to state in the language of
theology, and almost impossible to state in the language
of common sense. Perhaps it bears in it the signs of
carelessness, for as we have seen (p. <a href='#Page_54'>54</a>) it was the invention
of the Emperor Heraclius in the last desperate days
when he was trying to conciliate Egypt.</p>

<p class='c012'>If Christ has one Nature he has of course one will.
But suppose he has two Natures. How many wills has
he then? The Monothelites said “One.” The orthodox
view—the one we hold—is “Two, one human the other
divine, but both operating in unison.” Obscure indeed
is the problem, and we can well believe that the Alexandrians,
against whom the Arabs were then marching,
did not understand Monothelism when it was hurriedly
explained to them by a preoccupied general. But it was
not without a future. It failed as a compromise but
survived as a heresy, and long after the Imperial Government
had disowned it and Egypt had fallen to Islam, it
was cherished in the uplands of Syria by the Maronite
Church.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Maronite Church</span>: p. <a href='#Page_140'>140</a>, 213.</div>
    </div>
  </div>
</div>

<h5 id='p1s3t03-6' class='c035'><span class='sc'>Conclusion: Islam.</span></h5>
<p class='c007'>We have now seen Alexandria handle one after
another the systems that entered her walls. The ancient
religion of the Hebrews, the philosophy of Plato, the
new faith out of Galilee—taking each in turn she has
left her impress upon it, and extracted some answer to
her question, “How can the human be linked to the
divine?”</p>

<p class='c012'>It may be argued that this question must be asked
by all who have the religious sense, and that there is
nothing specifically Alexandrian about it. But no; it need
not be asked; it was never asked by Islam, by the faith
that swept the city physically and spiritually into the
sea. “There is no God but God, and Mohammed is the
<span class='pageno' id='Page_78'>78</span>Prophet of God” says Islam, proclaiming the needlessness
of a mediator; the man Mohammed has been
chosen to tell us what God is like and what he wishes, and
there all machinery ends, leaving us to face our Creator.
We face him as a God of power, who may temper his
justice with mercy, but who does not stoop to the weakness
of Love, and we are well content that, being powerful,
he shall be far away. That old dilemma, that God ought
at the same time to be far away and close at hand,
cannot occur to an orthodox Mohammedan. It occurs
to those who require God to be loving as well as powerful,
to Christianity and to its kindred growths, and it is the
weakness and the strength of Alexandria to have solved
it by the conception of a link. Her weakness: because
she had always to be shifting the link up and down—if
she got it too near God it was too far from Man, and
<i><span lang="la" xml:lang="la">vice versa</span></i>. Her strength: because she did cling to the
idea of Love, and much philosophic absurdity, much
theological aridity, must be pardoned to those who
maintain that the best thing on earth is likely to be the
best in heaven.</p>

<p class='c012'>Islam, strong through its abjuration of Love, was
the one system that the city could not handle. It gave
no opening to her manipulations. Her logoi, her emanations
and aeons, her various Christs, orthodox, Arian,
Monophysite, or Monothelite—it threw them all down
as unnecessary lumber that do but distract the true
believer from his God. The physical decay that crept
on her in the 7th century had its counterpart in a spiritual
decay. Amr and his Arabs were not fanatics or barbarians
and they were about to start near Cairo a new Egypt of
their own. But they instinctively shrank from Alexandria;
she seemed to them idolatrous and foolish;
and a thousand years of silence succeeded them.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Inscription from Koran</span> (Terbana Mosque): p. <a href='#Page_125'>125</a>.</div>
    </div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_79'>79</span>
  <h3 class='c001'>SECTION IV.</h3>
</div>
<hr class='c025' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>ARAB PERIOD.</div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_80'>80</span>
  <h4 class='c026'>THE ARAB TOWN (7th-16th Cents.)</h4>
</div>
<p class='c007'>During the thousand years and more that intervene
between the Arab conquest of Egypt and its conquest by
Napoleon, the events in the history of Alexandria are
geographic rather than political. Neglected by man, the
land and the waters altered their positions, and could
Alexander the Great have returned he would have failed
to recognise the coast. (i) The fundamental change
was in the 12th cent., when the Canopic mouth of the
Nile silted up. Consequently the fresh water lake of
Mariout, being no longer fed by the Nile floods, also silted
and ceased to be navigable. Alexandria was cut off from
the entire river system of Egypt, and could not flourish
until it was restored; she has always required the double
nourishment of fresh water and salt. (ii) There was also
a change in the outline of the city: the dyke Heptastadion,
built by the Ptolemies to connect the mainland with the
island of Pharos, fell into ruin and became a backbone
along which a broad spit of land accreted; and so Pharos
turned from an island into a peninsula—the present
Ras-el-Tin.</p>

<p class='c012'>The Arabs, though they let the city fall out of
repair, admired it greatly. One of them writes as
follows:—</p>

<p class='c028'>The city was all white and bright by night as well as
by day. By reason of the walls and pavements of white
marble the people used to wear black garments; it was the
glare of the marble that made the monks wear black. So
too it was painful to go out by night ... a tailor could
see to thread his needle without a lamp. No one entered
without a covering over his eyes.</p>

<p class='c029'>A second writer describes the green silk awnings that
were spread over the Canopic Way. A third, even more
enthusiastic exclaims:—</p>

<p class='c028'>I have made the Pilgrimage to Mecca sixty times, but
if Allah had suffered me to stay a month at Alexandria and
pray on its shores, that month would be dearer to me.</p>

<p class='c029'><span class='pageno' id='Page_81'>81</span>The Arabs were anything but barbarians; their own
great city of Cairo is a sufficient answer to that charge.
But their civilisation was Oriental and of the land; it
was out of touch with the Mediterranean civilisation
that has evolved Alexandria. At first they made some
effort to adapt it to their needs. The church of St.
Theonas became part of the huge “Mosque of the 1,000
Columns;” the church of St. Athanasius also became
a Mosque—the present Attarine Mosque occupies part of
its site; and a third Mosque, that of the Prophet
Daniel, rose on the Mausoleum of Alexander. But the
Caesareum, the Mouseion, the Pharos, the Ptolemaic
Palace, all became ruinous. So did the walls. And
though the Arabs built new walls in 811, their course is
so short that they vividly illustrate the decline of the
town and of the population. (See map p. <a href='#Page_98'>98</a>). They
only enclosed a fragment of the ancient city.</p>

<p class='c012'>In 828 the Venetians, according to their own account,
stole from Alexandria the body of St. Mark, concealing it
first in a tub of pickled pork in order to repel the attentions
of the Moslem officials on the quay. The theft was a
pardonable one, for the Arabs never seem to know that
it had been made; it occasioned much satisfaction in
Venice and no inconvenience in Alexandria. St. Mark
procured, there was little to attract the European world;
the ports of Egypt were now Rosetta (Bolbitiné Mouth
of the Nile), and Damietta (Phatnitic Mouth); there was
no reason to approach Alexandria now that her water
system had collapsed. Towards the end of the Arab
rule she did indeed regain some slight importance; the
Mameluke Sultan of Cairo, Kait Bey, built on the ruins
of the Pharos the fine fort that bears his name (1480).
He built it as a defence against the growing naval power
of the Turks. The Turks conquered Egypt in 1517, and
a new but equally unimportant chapter in the history
of Alexandria begins.</p>
<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>St. Theonas</span>: p. <a href='#Page_170'>170</a>.</div>
      <div class='line'><span class='sc'>Attarine Mosque</span>: p. <a href='#Page_143'>143</a>.</div>
      <div class='line'><span class='sc'>Mosque of the Prophet Daniel</span>: p. <a href='#Page_104'>104</a>.</div>
      <div class='line'><span class='sc'>Fragment of Arab Wall</span>: p. <a href='#Page_106'>106</a>, 155.</div>
      <div class='line'><span class='sc'>Fort Kait Bey</span>: p. <a href='#Page_133'>133</a>.</div>
    </div>
  </div>
</div>

<div>
  <span class='pageno' id='Page_82'>82</span>
  <h4 class='c026'>THE TURKISH TOWN (16th-18th Cents.)</h4>
</div>
<p class='c007'>Under the Turks the population continued to shrink,
so that eventually the narrow enclosure of the Arab walls
became too large. A new settlement sprang up on the
neck of land that had formed between the two harbours.
It still exists and is known as the “Turkish Town.” A
second-rate affair; little more than a strip of houses
intermixed with small mosques; a meagre copy of
Rosetta, where the architecture of these centuries can
best be studied. So unimportant a place can have no
connected history. All that one can do is to quote the
isolated comments of a few travelers. (i) The English
sailor, John Foxe, (1577) has a lively tale to tell. He
had been caught by the Turkish corsairs and imprisoned
with his mates. With the connivance of a friendly
Spaniard he organised a mutiny, recaptured his ship and
in true British style worked it out of the Eastern Harbour
under the fire of the guns on Kait Bey. (ii) John
Sandys (1610) gives a quaint but impressive description
of the decay:—</p>

<p class='c028'>Such was this Queen of Cities and Metropolis of Africa:
who now hath nothing left her but ruins; and those ill
witnesses of his perished beauties: declaring rather that
towns as well as men have the ages and destinies.... Sundry
Mountains were raised of the ruins, by Christians not to be
mounted; lest they should take too exact a survey of the
city: in which are often found, (especially after a shower)
rich stones and medals engraven with the figure of their Gods
and men with such perfection of Art as these now cut seeme
lame to those and unlively counterfeits.</p>

<p class='c029'>(iii). Captain Norden, a Dane, (1757) was in an irritable
mood, as the Turks would not let him sketch the fortifications.
The English community was already in existence,
and the Captain’s account of it makes interesting
if painful reading:—</p>

<p class='c028'>They keep themselves quiet and conduct themselves
without making much noise. If any nice affair is to be
undertaken they withdraw themselves from it and leave to
the French the honour of removing all difficulties. When any
benefits result from it they have their share and if affairs turn
out ill they secure themselves in the best manner they can.</p>

<div  class='figcenter id001'>
<span class='pageno' id='Page_83'>83</span>
<img src='images/i098.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='small'><span lang="fr" xml:lang="fr">Extrait des <i>Observations de plvsieurs singvlaritez etc.</i><br />par Pierre Belon du Mans<br />Paris 1554</span></span></p>
</div>
</div>

<p class='c029'><span class='pageno' id='Page_84'>84</span>(iv). Another irritable visitor landed here in 1779—the
lively but spiteful Mrs. Eliza Fay. Being a Christian,
she was not allowed to disembark in the Western Harbour
nor to ride any animal nobler than a donkey. She
visited Cleopatra’s Needles and Pompey’s Pillar, then
writes to her sister “I certainly deem myself very fortunate
in quitting this place so soon.” She makes no
mention of the English community, but was entertained
by the Prussian Consul, and has left an unflattering
account of his stout wife.</p>

<p class='c012'>There are some old maps, compiled from the accounts
of travellers, but bearing little reference to reality.
That of Pierre Belon (1554) is reproduced on p. <a href='#Page_83'>83</a>. Its
main errors are the introduction of the Nile, and the outflow
of Lake Mariout to the sea. It shows the two
harbours, the Arab walls, Cleopatra’s Needles, Pompey’s
Pillar and the Canopic or Rosetta Gate (<span lang="fr" xml:lang="fr">Porte du Caire</span>).
The Turkish town has not yet been built. De Monconys’
map of 1665—<i>see</i> frontispiece—is in some ways still
more absurd; Cleopatra’s Needle has turned into a
pyramid. The mound in the right centre is meant for
Fort Cafarelli. The beginnings of the Turkish Town
appear on Ras-el-Tin. In 1743 Richard Pocock published
the first scientific map in his “Description of the East;”
measurements and soundings are given. Captain Norden
the Dane brought out a good pictorial plan of the “New,”
i.e. Eastern harbour, showing the seamarks. And the
exact extent of Alexandria’s decay is shown in the magnificent
map published by the French expedition under
Napoleon. There we see that the Arab enclosure is
empty except for a few houses on Kom-el-Dik and by
the Rosetta Gate, and that the population—only 4,000—is
huddled into the wall-less Turkish Town.</p>

<p class='c012'>With Napoleon a new age begins.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Turkish Town</span>: p. <a href='#Page_124'>124</a>.</div>
      <div class='line'><span class='sc'>Rosetta</span>: p. <a href='#Page_185'>185</a>.</div>
      <div class='line'><span class='sc'>Cleopatra’s Needles</span>: p. <a href='#Page_161'>161</a>.</div>
      <div class='line'><span class='sc'>Pompey’s Pillar</span>: p. <a href='#Page_144'>144</a>.</div>
      <div class='line'><span class='sc'>Fort Cafarelli</span>: p. <a href='#Page_170'>170</a>.</div>
    </div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_85'>85</span>
  <h3 class='c001'>SECTION V.</h3>
</div>
<hr class='c025' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div><span class='xlarge'>MODERN PERIOD.</span></div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_86'>86</span>
  <h4 class='c026'>NAPOLEON (1798-1801).</h4>
</div>
<p class='c007'>On July 1st 1798 the inhabitants of the obscure
town saw that the deserted sea was covered with an
immense fleet. Three hundred sailing ships came out
from the west to anchor off Marabout Island, men disembarked
all night and by the middle of next day 5,000
French soldiers under Napoleon had occupied the place.
They were part of a larger force, and had come under
the pretence of helping Turkey, against whom Egypt
was then having one of her feeble and periodic revolts.
The future Emperor was still a mere general of the French
Republic, but already an influence on politics, and this
expedition was his own plan. He was in love with the
East just then. The romance of the Nile valley had
touched his imagination, and he knew that it was the
road to an even greater romance—India. At war with
England, he saw himself gaining at England’s expense
an Oriental realm and reviving the power of Alexander
the Great. In him, as in Mark Antony, Alexandria
nourished imperial dreams. The expedition failed but
its memory remained with him: he had touched the East,
the nursery of kings.</p>

<p class='c012'>Leaving Alexandria at once, he marched on Cairo
and won the battle of the Pyramids. Then an irreparable
disaster befel him. He had left his admiral, Brueys,
with instructions to dispose the fleet as safely as possible,
since Nelson was known to be in pursuit. Under modern
conditions Brueys would have sailed into the Western
Harbour, but in 1798 the reefs that cross the entrance
had not been blasted away, and though the transports
got in the passages were rather dangerous for the big
men-of-war. Brueys was nervous and thought he had
better take them round to an anchorage, supposed
impeccable, in the Bay of Aboukir. Nelson followed him,
attacked him unexpectedly and destroyed his fleet.
<span class='pageno' id='Page_87'>87</span>Details of this famous engagement, the so-called “Battle
of the Nile,” are given in another place (p. <a href='#Page_177'>177</a>); its
result was to lose for Napoleon the command of the sea.
The French expedition took Cairo and remained powerful
on land, but could receive no reinforcements, no messages,
and withered away like a plant that has been cut at the
root. Turkey declared against it, and a Turkish force,
supported by British ships, landed at Aboukir (July 1799).
Here Napoleon was successful. He commanded in person
and in a series of brilliant engagements drove the invaders
into the sea: this is the “Land” battle of Aboukir
(described in detail p. <a href='#Page_179'>179</a>). But his dreams had been
shattered by Nelson. He saw that his destiny, whatever
it was, would not be accomplished in the East, and meanly
deserting his army he slipped back to France.</p>
<hr class='c014' />
<p class='c012'>We now come to the first British expedition, and
to its successful and interesting campaign. In March 1801
Sir Ralph Abercrombie landed with 1,500 men at Aboukir.
His aim was not to occupy Egypt, but to induce the
French armies to evacuate it. He marched westward
against Alexandria, keeping close to the sea. The
country on his left was very different to what it is now,
and to understand his operations two of the differences
must be remembered. (i) The “Lake of Aboukir,”
since drained, stretched from Aboukir Bay almost as far
as Ramleh. As it connected with the sea, it was full of
salt water. (ii) The present Lake Mariout was almost
dry. It contained a little fresh water, but most of its
enormous bed was under cultivation. It lay twelve feet
below the waters of Lake Aboukir, and was protected
from them by a dyke. Thus Abercrombie saw water
where we see land, and <i><span lang="la" xml:lang="la">vice versa</span></i>. He advanced with
success as far as Mandourah, because his left flank was
protected by Lake Aboukir. But when he wanted to
attack the French position at Ramleh he feared they
would outflank him over the dry bed of Mariout. His
losses had been heavy, his advance was held up; wounded
in the thigh by a musket shot, he had to abandon the
<span class='pageno' id='Page_88'>88</span>command, and was carried on to a boat where he died;
a small monument at Sidi Gaber commemorates him
to-day. His successor, Hutchinson, took drastic measures.
At the advice of his engineers he cut the dyke that
separated Lake Aboukir from Mariout. The salt water
rushed in, to the delight of the British soldiers, and in a
month thousands of acres had been drowned, Alexandria
was isolated from the rest of Egypt, and the left flank of
the expedition was protected all the way up to the walls
of the town. Later in the year a second British force
landed to the west of Alexandria, at Marabout, and,
caught between two fires, the French were obliged to
surrender. They were given easy terms, and allowed to
leave Egypt with all the honours of war. The British
followed them; we had accomplished our aim, and had
no reason to remain in the country any longer; we left
it to our allies the Turks. But the sleep of so many
centuries had been broken. The eyes of Europe were
again directed to the deserved shore. Though Napoleon
had failed and the British had retired, a new age had
begun for Alexandria. Life flowed back into her, just
as the waters, when Hutchinson cut the dyke, flowed
back into Lake Mariout.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Marabout</span>: p. <a href='#Page_171'>171</a>.</div>
      <div class='line'>“<span class='sc'>Battle of the Nile</span>”: p. <a href='#Page_177'>177</a>.</div>
      <div class='line'><span class='sc'>Lake Mariout</span>: p. <a href='#Page_190'>190</a>.</div>
      <div class='line'><span class='sc'>Ramleh</span>: p. <a href='#Page_166'>166</a>.</div>
      <div class='line'><span class='sc'>Abercrombie Monument, Sidi Gaber</span>: p. <a href='#Page_165'>165</a>.</div>
      <div class='line'><span class='sc'>Tomb of Col. Brice</span>, d. 1801 (Greek Patriarcate): p. <a href='#Page_106'>106</a>.</div>
    </div>
  </div>
</div>

<h4 id='p1s5t02' class='c026'>MOHAMMED ALI (1805-1848).</h4>
<p class='c007'>When Napoleon drove the Turks into the sea at
Aboukir, among the fugitives was Mohammed Ali, the
founder of the present reigning house of Egypt. Little
is known of his origin. He was an Albanian, but born
at Cavala in Macedonia where he is said to have
distinguished himself as a tax collector in his earlier
youth. His education was primitive; he was ignorant
of history and economics and only learnt the Arabic
<span class='pageno' id='Page_89'>89</span>alphabet late in life. But he was a man of great ability
and power and an acute judge of character. He reappears
in Egypt in 1801, still obscure, and fights under
Abercrombie. When the English withdrew he profited
by the internal disturbances and became in 1805 Viceroy
of the country under the Sultan of Turkey.</p>

<p class='c012'>His power was consolidated by the disastrous British
expedition of 1807—General Frazer’s “reconnoitering”
expedition, as it is officially termed. England was hostile
to Turkey now, and Frazer was sent to see whether a
diversion could be created in Egypt. He landed, like
Napoleon before him, at Marabout, but with no more
than the following regiments;—the 31st, the 35th, the
78th, and a foreign legion: 4,000 men in all. He
occupied Alexandria and Rosetta, but before long
Mohammed Ali had killed or captured half his force and
he was obliged to ask for terms. They were readily
granted. The “reconnoitering” expedition was allowed
to reembark, and the only trace it has left of its presence
in Alexandria is a tombstone of a soldier of the 78th,
in the courtyard of the Greek Patriarchate.</p>

<p class='c012'>For thirty years the power of Mohammed Ali grew,
and with it the importance of Alexandria, his virtual
capital. He freed the Holy Places of Arabia from a
heretical sect, he interfered in Greece, he revolted against
his suzerain the Sultan of Turkey, and invading Syria
added it to his dominions. A kingdom, comparable in
extent to the Ptolemaic, had come into existence with
Alexandria as its centre, and it seemed that the dreams
of Napoleon would be realised by this Albanian adventurer,
and that the English would be cut off from India.
England took alarm. And suddenly the empire of
Mohammed Ali fell. Syria revolted (1840), supported
by a British fleet, and soon the English admiral, Sir
Charles Napier, was at Alexandria, and compelled the
Viceroy to confine himself to Egypt. According to
tradition the interview took place in the new Ras-el-Tin
Palace, and Napier exclaims “If Your Highness will not
listen to my unofficial appeal to you against the folly of
<span class='pageno' id='Page_90'>90</span>further resistance, it only remains for me to bombard
you, and by God I will bombard you and plant my
bombs in the middle of this room where you are sitting.”
Anyhow Mohammed Ali gave in. He had failed as a
European power, but he had secured for his family a
comfortable principality in Egypt, where he was king in
all but name.</p>

<p class='c012'>His internal policy was rather disreputable. He admired
European civilization because it made people
aggressive and gave them guns, but he had no sense of
its finer aspects, and his “reforms” were mainly veneer
to impress travellers. He exploited the fellahin by
buying grain from them at his own price: the whole
of Egypt became his private farm. Hence the importance
of the foreign communities at Alexandria at this
date: he needed their aid to dispose of the produce in
European markets. He won over the British and other
consuls to be his agents by giving them licences to export
Egyptian antiquities, which were then coming into fashion;
our own Consul Henry Salt—his tomb is here—was a
particular offender in this. He also gave away “Cleopatra’s
Needles” to the British and American Governments
respectively; the obelisks that still remained on
their original sites outside the vanished Caesareum, and
would have lent such dignity to our modern sea front.
Still, with all his faults, he did create the modern city,
such as she is. He waved his wand, and what we see
arose from the aged soil. Let us examine it for a moment.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Statue of Mohammed Ali</span>: p. <a href='#Page_102'>102</a>.</div>
      <div class='line'><span class='sc'>Mausoleum of his Family</span>: p. <a href='#Page_105'>105</a>.</div>
      <div class='line'><span class='sc'>Tomb of Soldier of the 78th</span>: p. <a href='#Page_106'>106</a>.</div>
      <div class='line'><span class='sc'>Ras-el-Tin Palace</span>: p. <a href='#Page_129'>129</a>.</div>
      <div class='line'><span class='sc'>Tomb of Henry Salt</span>: p. <a href='#Page_144'>144</a>.</div>
      <div class='line'><span class='sc'>Cleopatra’s Needles</span>: pp. 136, 162.</div>
    </div>
  </div>
</div>

<h4 id='p1s5t03' class='c026'>THE MODERN CITY.</h4>
<p class='c007'>During the years 1798-1807 as many as four expeditions
had landed at or near Alexandria—one French, one
Turkish, and two English. Egypt had again been drawn
<span class='pageno' id='Page_91'>91</span>into the European system. A maritime capital was
necessary, and the genius of Mohammed Ali realised that
it could be found not in the mediaeval ports of Damietta
and Rosetta, but in a restored Alexandria. The city
that we know to-day has followed the lines that he laid
down, and it is interesting to compare his dispositions
with those of Alexander the Great, over two thousand
years before.</p>

<p class='c012'>The main problem was the waters. The English,
by cutting the dykes in 1801, had refilled Lake Mariout
so that it had suddenly regained its ancient area. But
it was too shallow for navigation and they had filled
it with salt water instead of the former fresh: it gave
no access to the system of the Nile. That system had
to be tapped. Alexander could find the Nile at Aboukir
(Canopic Mouth): now it was as far off as Rosetta
(ancient Bolbitic Mouth). Consequently Mohammed Ali
had to construct a canal 45 miles long. This canal,
called the Mahmoudieh after Mahmoud, the reigning
Sultan of Turkey, was completed in 1820. It was badly
made and the sides were always falling in, but it led to
the immediate rise of Alexandria and to the decay of
Rosetta. Alexandria now had water communications
with Cairo, to which was added communication by rail.
The Harbour followed. Mohammed Ali developed the
Western which had been the less important in classical
times. The present docks and arsenals were built for
him (1828-1833) by the French engineer De Cerisy. A
fleet was added. To the same scheme belongs the
impressive Ras-el-Tin Palace, which standing on a rise
above the harbour dominated it as the Ptolemaic Palace
had once dominated the Eastern; the favourite residence
of the Viceroy, it indicated that his new kingdom was
no mere oriental monarchy, but a modern power with its
face to the sea.</p>

<p class='c012'>Meanwhile the town started its development, but
not on very regal lines. Houses began to run up and
streets to sprawl over the deserted area inside the Arab
Walls. It did not occur either to Mohammed Ali or to
<span class='pageno' id='Page_92'>92</span>his friends the Foreign Communities that a city ought to
be planned. Their one achievement was a Square and
certainly quite a fine one—the <span lang="fr" xml:lang="fr">Place des Consuls</span>, now
Place Mohammed Ali. The English were granted land
to the north of the Square, on part of which they built
their church, the French and the Greeks land to the
south; areas were also acquired by other communities,
e.g. by the Armenians. But there was no attempt to coordinate
the various enterprises, or to utilise the existing
features of the site. These features were: the sea, the
lake, Pompey’s Pillar, the forts of Kom-el-Dik and
Cafarelli, and the Arab Walls. The sea was ignored
except for commercial purposes; the main thoroughfares
still keep away from its shores, and even the fine New
Quays are attracting no buildings to their curve. The
lake was ignored even more completely—the lake whose
delicate pale expanse might so have beautified the southern
quarters; many people do not know that a lake
exists. Pompey’s Pillar, instead of being the centre of
converging roads, has been left where it will least be
seen; only down the <span lang="fr" xml:lang="fr">Rue Bab Sidra</span> does one get a
distant view of it. Similarly with the two forts;
huddled behind houses. The Arab walls have been
finally destroyed—remnants surviving in the eastern
reach where they have been utilised (and well utilised)
in the Public Gardens.</p>

<p class='c012'>As Alexandria grew in size and wealth she required
suburbs. The earliest development was along the line of
the Mahmoudieh Canal, where the Villa Antoniadis and
a few other fine houses have been built. But with the
improvement of communications the rich merchants
were able to live further afield. Two alternatives were
open to them—Mex and Ramleh—and rather regrettably
they selected the latter. Mex, with its fine natural
features, might have developed into a very beautiful
place: as it is a belt of slums have parted it from the town,
and an execrable tram service has removed it even further.
The town has spread to the east instead, to Ramleh, served
at first by a railway and now by good electric trams.</p>

<p class='c012'><span class='pageno' id='Page_93'>93</span>Such are the main features of Alexandria as it has
evolved under Mohammed Ali and his successors. It
does not compare favourably with the city of Alexander
the Great. On the other hand it is no worse than most
nineteenth century cities. And it has one immense
advantage over them—a perfect climate.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'>Mahmoudieh Canal</span>: p. <a href='#Page_151'>151</a>.</div>
      <div class='line'><span class='sc'>Modern Harbour</span>: p. <a href='#Page_129'>129</a>.</div>
      <div class='line'><span class='sc'>Ras-el-Tin Palace</span>: p. <a href='#Page_129'>129</a>.</div>
      <div class='line'><span class='sc'>Square</span>: p. <a href='#Page_102'>102</a>.</div>
      <div class='line'><span class='sc'>English Church</span>: p. <a href='#Page_102'>102</a>.</div>
      <div class='line'><span class='sc'>Fort Kom-el-Dik</span>: p. <a href='#Page_106'>106</a>.</div>
      <div class='line'><span class='sc'>Fort Cafarelli</span>: p. <a href='#Page_170'>170</a>.</div>
      <div class='line'><span class='sc'>Pompey’s Pillar</span>: p. <a href='#Page_144'>144</a>.</div>
      <div class='line'><span class='sc'>Public Gardens</span>: p. <a href='#Page_154'>154</a>.</div>
      <div class='line'><span class='sc'>Villa Antoniadis</span>: p. <a href='#Page_157'>157</a>.</div>
      <div class='line'><span class='sc'>Mex</span>: p. <a href='#Page_171'>171</a>.</div>
      <div class='line'><span class='sc'>Ramleh</span>: p. <a href='#Page_166'>166</a>.</div>
    </div>
  </div>
</div>

<h4 id='p1s5t04' class='c026'>THE BOMBARDMENT OF ALEXANDRIA (1882).</h4>
<p class='c007'>Thus the city develops quietly under Mohammed
Ali and his successors—one of whom, Said Pasha, is
buried here. Attention was rather diverted from her
by the cutting of the Suez Canal, and it is not until 1882
that anything of note occurs. She is in this year connected
with the rebellion of Arabi, the founder of the Egyptian
Nationalist Party. Arabi, then Minister of War, was
endeavouring to dominate the Khedive Tewfik, and to
secure Egypt for the Egyptians. Alexandria, which had
held a foreign element ever since its foundation, was
therefore his natural foe, and it was here that he opened
the campaign against Europe that ended in his failure
at Tel-el-Kebir. The details—like Arabi’s motives—are
complicated. But four stages may be observed.</p>

<p class='c012'>(i). <i>Riot of June 11th.</i></p>

<p class='c012'>This began at about 10 p.m. in the <span lang="fr" xml:lang="fr">Rue des Soeurs</span>;
it is said that two donkey boys, one Arab and one Maltese,
had a fight in a café, and that others joined in. The
rioters moved down towards the Square, and at some
<span class='pageno' id='Page_94'>94</span>cross roads near the Laban Caracol the British Consul
was nearly killed. They were joined in the Square by
two other mobs, one from the Attarine Quarter and one
from Ras-el-Tin. British and other warships were in the
harbour, but took no action, and the Egyptian troops in
the city refused to intervene without orders from Arabi,
who was in Cairo. At last a telegram was sent to him.
He responded and the disorder ceased. There is no
reason to suppose that he planned the riot. But naturally
enough he used it to increase his prestige. He had shown
the foreign communities, and particularly the British,
that he alone could give them protection. In the evening
he came down in triumph from Cairo. About 150
Europeans are thought to have been killed that day,
but we have no reliable statistics.</p>

<p class='c012'>(ii). <i>Bombardment of July 11th.</i></p>

<p class='c012'>British men-of-war under Admiral Seymour had
been in the harbour during the riot, but it was a month
before they took action. In the first place the British residents
had to be removed, in the second the fleet required
reinforcing, in the third orders were awaited from home.
As soon as Seymour was ready he picked a quarrel with
Arabi and declared he should bombard the city if any
more guns were mounted in the forts. Since Arabi would
not agree he opened fire at 7.0 a.m. July 11th. There
were eight iron-clads—six of them the most powerful
in our navy. They were thus distributed:—<i>Monarch</i>,
<i>Invincible</i> and <i>Penelope</i> close inshore off Mex; <i>Alexandra
Sultan</i> and <i>Superb</i> off Ras-el-Tin; while the two others
the <i>Temeraire</i> and <i>Inflexible</i> were in a central position
outside the harbour reef, half-way between Ras-el-Tin
and Marabout; and off Marabout were some gun boats,
under Lord Charles Beresford. The bombardment succeeded,
though Arabi’s gunners in the forts fought
bravely. In the evening the <i>Superb</i> blew up the powder
magazine in Fort Adda. Fort Kait Bey was also shattered
and the minaret of its 15th cent. Mosque was seen
“melting away like ice in the sun.” The town, on the
<span class='pageno' id='Page_95'>95</span>other hand, was scarcely damaged, as our gunners were
careful in their aim. Arabi and his force evacuated it
in the evening, marching out by the <span lang="fr" xml:lang="fr">Rue Rosette</span> to take
up a position some miles further east, on the banks of
the Mahmoudieh canal.</p>

<p class='c012'>(iii). <i>Riot of July 12th.</i></p>

<p class='c012'>Unfortunately Admiral Seymour, after his success,
never landed a force to keep order, and the result was a
riot far more disastrous than that of June. With the
withdrawal of Arabi’s troops the native population lost
self control. The Khedive had now broken with Arabi,
but during the bombardment he had moved from Ras-el-Tin
Palace to Ramleh and his authority was negligible.
Pillaging went on all day on the 12th, and by the evening
the city had been set on fire. The damage was material
rather than artistic, the one valuable object in the Square,
the statue of Mohammed Ali, fortunately escaping. Rues
Chérif and Tewfik Pacha—indeed all the roads leading
out of the Square—were destroyed, and nearly every street
in the European quarter was impassable through fallen
and falling houses. Empty jewel cases and broken
clocks lay on the pavements. Every shop was looted,
and by the time Admiral Seymour did land it was impossible
for his middies to buy any jam; one of them has
recorded this misfortune, adding that in other ways
Alexandria, then in flames, was “well enough.” Meanwhile
the Khedive had returned to his Palace, and order
was slowly restored. It is not known how many lives
were lost in this avoidable disaster.</p>

<p class='c012'>(iv). <i>Military Operations.</i></p>

<p class='c012'>A large British force was despatched under Lord
Wolseley to the Suez Canal—the force that finally defeated
Arabi at Tel-el-Kebir. But, until it reached Egypt,
Alexandria remained in danger, for Arabi might attack
from his camp at Kafr-el-Dawar. So the city had to be
defended on the east. In the middle of July General
Alison arrived with a few troops, including artillery, and
<span class='pageno' id='Page_96'>96</span>occupied the barracks at Mustapha Pacha, the hill of
Abou el Nawatir, and the water works down by the canal.
He could thus watch Arabi’s movements. And he had a
second strongly fortified position at the gates of the
Antoniadis Gardens, in case he was attacked from the
south. Here he was able to hold on and to harry the
enemy’s outposts until pressure was relieved. His losses
were slight; the regiments involved are commemorated
by tablets in the English church. Next month Wolseley
arrived, and having inspected the position re-embarked
his troops and pretended that he was going to land at
Aboukir. Arabi was deceived and prepared resistance
there. Wolseley steamed past him, and landed at Port
Said instead. Arabi then had to break up his camp, and
the danger for Alexandria was over.</p>

<div class='lg-container-l c030'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'><span class='sc'><span lang="fr" xml:lang="fr">Rue des Sœurs</span></span>: p. <a href='#Page_170'>170</a>.</div>
      <div class='line'><span class='sc'>Fort Adda</span>: p. <a href='#Page_132'>132</a>.</div>
      <div class='line'><span class='sc'>Fort Kait Bey</span>: p. <a href='#Page_133'>133</a>.</div>
      <div class='line'><span class='sc'>Mustapha Barracks</span>: p. <a href='#Page_96'>96</a>.</div>
      <div class='line'><span class='sc'>Gun on Abou el Nawatir</span>: p. <a href='#Page_165'>165</a>.</div>
      <div class='line'><span class='sc'>Antoniadis Gardens</span>: p. <a href='#Page_157'>157</a>.</div>
      <div class='line'><span class='sc'>Tablets in English Church</span>: p. <a href='#Page_103'>103</a>.</div>
      <div class='line'><span class='sc'>Howitzer of Arabi</span>; at Egyptian Government Hospital: p. <a href='#Page_163'>163</a>.</div>
    </div>
  </div>
</div>

<div>
  <span class='pageno' id='Page_97'>97</span>
  <h4 id='p1s5t05' class='c026'>CONCLUSION.</h4>
</div>
<p class='c007'>Since the bombardment of 1882, the city has known
other troubles, but they will not be here described.
Nor will any peroration be attempted, for the reason
that Alexandria is still alive and alters even while one
tries to sum her up. Politically she is now more closely
connected with the rest of Egypt than ever in the past,
but the old foreign elements remain, and it is to the oldest
of them, the Greek, that she owes such modern culture
as is to be found in her. Her future like that of other
great commercial cities is dubious. Except in the cases
of the Public Gardens and the Museum, the Municipality
has scarcely risen to its historic responsibilities. The
Library is starved for want of funds, the Art Gallery
cannot be alluded to, and links with the past have been
wantonly broken—for example the name of the <span lang="fr" xml:lang="fr">Rue
Rosette</span> has been altered and the exquisite Covered
Bazaar near the <span lang="fr" xml:lang="fr">Rue de France</span> destroyed. Material
prosperity based on cotton, onions, and eggs, seems
assured, but little progress can be discerned in other
directions, and neither the Pharos of Sostratus nor the
Idylls of Theocritus nor the Enneads of Plotinus are
likely to be rivalled in the future. Only the climate
only the north wind and the sea remain as pure as when
Menelaus the first visitor landed upon Ras-el-Tin, three
thousand years ago; and at night the constellation of
Berenice’s Hair still shines as brightly as when it caught
the attention of Conon the astronomer.</p>
<div>
  <span class='pageno' id='Page_98'>98</span>
  <h4 class='c026'>THE GOD ABANDONS ANTONY.</h4>
</div>
<div class='lg-container-l c040'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line'>When at the hour of midnight</div>
      <div class='line'>an invisible choir is suddenly heard passing</div>
      <div class='line'>with exquisite music, with voices—</div>
      <div class='line'>Do not lament your fortune that at last subsides,</div>
      <div class='line'>your life’s work that has failed, your schemes that have proved illusions.</div>
      <div class='line'>But like a man prepared, like a brave man,</div>
      <div class='line'>bid farewell to her, to Alexandria who is departing.</div>
      <div class='line'>Above all, do not delude yourself, do not say that it is a dream,</div>
      <div class='line'>that your ear was mistaken.</div>
      <div class='line'>Do not condescend to such empty hopes.</div>
      <div class='line'>Like a man for long prepared, like a brave man,</div>
      <div class='line'>like to the man who was worthy of such a city,</div>
      <div class='line'>go to the window firmly,</div>
      <div class='line'>and listen with emotion,</div>
      <div class='line'>but not with the prayers and complaints of the coward</div>
      <div class='line'>(Ah! supreme rapture!)</div>
      <div class='line'>listen to the notes, to the exquisite instruments of the mystic choir,</div>
      <div class='line'>and bid farewell to her, to Alexandria whom you are losing.</div>
    </div>
  </div>
</div>

<div class='c041'><span class='sc'>C. P. Cavafy.</span><a id='r6' /><a href='#f6' class='c036'><sup>[6]</sup></a></div>
<div class='footnote c042' id='f6'>
<p class='c013'><span class='label'><a href='#r6'>6</a>.&nbsp;&nbsp;</span>The local reference of this exquisite poem is to the omen that heralded
the defeat of Mark Antony (p. <a href='#Page_26'>26</a>). The poet is eminent among the contemporary
writers of Greece; he and his translator, Mr. George Valassopoulo,
are both residents of Alexandria.</p>
</div>

<div id='i114'  class='figcenter id001'>
<span class='pageno' id='Page_99'>99</span>
<img src='images/i114.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'><i>Alexandria: Historical Map</i></span><br />Ancient Sites in <span class='sc'>Capitals</span><br /><i>Modern Sites bracketed</i> (...)</p>
</div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div class='chapter'>
  <h2 class='c009'>PART II.</h2>
</div>
<hr class='c010' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div><span class='xlarge'>GUIDE.</span></div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_101'>101</span>
  <h3 class='c001'>SECTION I.</h3>
</div>
<hr class='c025' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>FROM THE SQUARE TO THE <span lang="fr" xml:lang="fr">Rue Rosette</span>.</div>
  </div>
</div>

<p class='c005'><span class='sc'>Route</span>:—Square, Rue Chérif Pacha, <span lang="fr" xml:lang="fr">Rue Rosette</span>, leading
through the most modern section of the town. No tram line.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Chief points of Interest</span>:—Square and Statue of Mohammed
Ali; Banco di Roma; Mosque of the Prophet Daniel;
St. Saba; Greco-Roman Museum.</p>
<div>
  <span class='pageno' id='Page_102'>102</span>
  <h4 id='p2s1t01' class='c026'>THE SQUARE.</h4>
</div>
<p class='c007'><i>The Square</i> (officially, Place Mohammed Ali; formerly
<span lang="fr" xml:lang="fr">Place des Consuls</span>; known to cabmen as “Menschieh”
from the adjoining Police Station) was laid out by
Mohammed Ali as the centre of his new city. (About
1830; see p. <a href='#Page_92'>92</a>). In Ptolemaic times the ground here
was under the sea. The Square is over 100 yds. broad
and nearly 500 long and well planted, but unworthy
buildings surround it. It suffered in the riots of 1882
(p. <a href='#Page_95'>95</a>.) everything was then burnt excepting the statue
of Mohammed Ali and the Church of St. Mark.</p>

<p class='c012'>In the Centre:—<i>Equestrian Statue of Mohammed
Ali</i>, an impressive specimen of French Sculpture, by
Jacquemart, exhibited in the Salon of 1872. Orthodox
Mohammedans were hostile to its erection, and even now
there is no inscription on it. Its presence is the more
welcome since it is one of the few first class objects in
the city. It should be studied from every point of view.</p>

<p class='c012'>Right as one faces the Statue:—<i>The Mixed Tribunals</i>,
where, in accordance with arrangements dating
from 1875, civil and commercial cases between Egyptians
and Europeans are tried.</p>

<p class='c012'>Left:—<i>The French Gardens</i>, a pleasant strip, stretching
at right angles from the Square to the New Quays,
(p. <a href='#Page_140'>140</a>).</p>

<p class='c012'>Also left:—<i>Anglican Church of St. Mark</i>, which with
the adjacent St. Mark’s Buildings was built on land
granted to the English by Mohammed Ali. Looking
through the railings of the church-yard is the funny
little bust of General Earle (k. 1885 at Kirbekan in the
Soudan). It was erected by the European Community,
<span class='pageno' id='Page_103'>103</span>and represents their chief incursion into the realms of
art. The Church itself, considering its date (1855), and
its pseudo-Byzantine architecture, is however a tolerable
building. The interior is restful and the stained glass
and triptych in the chancel strike a pleasing note of
colour. Historically, its only associations are with the
fighting against Arabi in 1882 (p. <a href='#Page_93'>93</a>). The Regiments
it commemorates are the 2nd Bn. Duke of Cornwall’s
Light infantry (on the scroll by the entrance stairs);
2nd. Bn. Derbyshires; Royal Marine Artillery; 1st. Bn.
London Division; Royal Artillery 1st Bn. Royal West
Kents (in the Nave). In the churchyard trees multitudinous,
sparrows gather at sunset, and fill the Square
with their chatter.</p>

<p class='c012'>End of the Square:—<i>The Bourse</i>, with arcaded
exterior and clock. Inside is the Cotton Exchange, the
chief in the Egyptian trade; the howls and cries that
may be heard here of a morning proceed not from a
menagerie but from the wealthy merchants of Alexandria
as they buy and sell. At the other end of the same hall
is the Stock Exchange. The whole scene is well worth
a visit (introduction necessary).</p>
<hr class='c014' />
<p class='c012'><i><span lang="fr" xml:lang="fr">Rue Chérif Pacha</span></i>, a smart little street bristling
with flag staffs, leads out of the Square to the left of the
Bourse. Here are the best shops. Towards the end,
left, at the entrance of the <span lang="fr" xml:lang="fr">Rue Toussoum Pacha</span>, is the
<i>Banco di Roma</i>, the finest building in the city. Architect,
Gorra. A modified copy of the famous <span lang="it" xml:lang="it">Palazzo Farnese</span>,
which Antonio da San Gallo and Michelangelo built in the
16th cent., at Rome. The materials are artificial stone
and narrow bricks of a charming pale red. It has two
stories as against the Farnese’s three, but there is a sort
of half storey up under the heavy cornice. Each side of
the door are elaborate torch holders of bent iron; over
door, the Wolf of Rome. In a cosmopolitan city like
Alexandria, which has never evolved an architecture of
its own, there is nothing incongruous in this copy of the
Italian Renaissance. A little further up <span lang="fr" xml:lang="fr">Rue Toussoum</span>
<span class='pageno' id='Page_104'>104</span><span lang="fr" xml:lang="fr">Pacha</span> is the <i>Land Bank of Egypt</i>, with a good semi-circular
portico.</p>

<p class='c012'><span lang="fr" xml:lang="fr">Rue Chérif Pacha</span> then joins the <span lang="fr" xml:lang="fr">Rue Rosette</span>.</p>
<h4 id='p2s1t04' class='c026'><span lang="fr" xml:lang="fr">Rue Rosette</span>.</h4>
<p class='c007'>This street, despite its modern appearance, is the
most ancient in the city. It runs on the lines of the
Canopic Way, the central artery of Alexander’s town,
(p. <a href='#Page_10'>10</a>), and under the Ptolemies it was lined from end to
end with marble colonnades. Its full title is “<span lang="fr" xml:lang="fr">Rue de
la Porte Rosette</span>” from the Rosetta Gate in the old
Arab walls through which it passed out eastwards (p. <a href='#Page_81'>81</a>).
The Municipality have recently changed its name to the
unmeaning <span lang="fr" xml:lang="fr">Rue Fouad Premier</span>, thus breaking one of
the few links that bound their city to the past.</p>

<p class='c012'>At its entrance, right, are:—the Caracol Attarine
(British Main Guard); the <span lang="fr" xml:lang="fr">Rue de la Gare du Caire</span>,
leading to the main railway station; and the Mohammed
Ali Club, the chief in the town—a small temple to Serapis
once stood on its site. Here too is Cook’s office.</p>

<p class='c012'>100 yds. down it is crossed by the <span lang="fr" xml:lang="fr">Rue Nebi Daniel</span>
and by a tramway. Here, in ancient times, was the main
crossway of the ancient city—one of the most glorious
places in the world (p. <a href='#Page_10'>10</a>). Achilles Tatius, a bishop
who in A.D. 400 wrote a somewhat foolish and improper
novel called Clitophon and Leucippe, thus describes it:—</p>

<p class='c028'>The first thing one noticed in entering Alexandria by
the Gate of the Sun (i.e. by the Rosetta Gate) was the beauty
of the city. A range of columns went from one end of it to
the other. Advancing down them, I came in time to the
place that bears the name of Alexander, and there could see
the other half of the town, which was equally beautiful.
For just as the colonnades stretched ahead of me, so did
other colonnades now appear at right angles to them.</p>

<p class='c029'>Thus the tramway was also lined with marble once.</p>

<p class='c012'><a id='daniel'></a>Turning to the right, a few yards up the <span lang="fr" xml:lang="fr">Rue Nebi
Daniel</span>, we come to:—<i>The Mosque of the Prophet Daniel</i>
<span class='pageno' id='Page_105'>105</span>which stands on the site of Alexander’s tomb—the
“Soma” where he and some of the Ptolemies lay,
buried in the Macedonian fashion (p. <a href='#Page_19'>19</a>). The cellars
have never been explored, and there is a gossipy
story that Alexander still lies in one of them, intact: a
dragoman from the Russian Consulate, probably a liar,
said in 1850 that he saw through a hole in a wooden door
“a human body in a sort of glass cage with a diadem on
its head and half bowed on a sort of elevation or throne.
A quantity of books or papyrus were scattered around.”
The present Mosque, though the chief in the city, is
uninteresting; a paved approach, a white washed door,
a great interior supported by four colonnades with
slightly pointed arches. The praying niche faces south
instead of the usual east. All has been mercilessly restored.
Stairs lead down to two tombs, assigned to the
Prophet Daniel and to the mythical Lukman the Wise;
it is uncertain why or when such a pair visited our city.
The tombs stand in a well-crypt of cruciform shape, above
which is a chapel roofed by a dome and entered from
the mosque through a door. Here and there some decorations
struggle through the whitewash.</p>

<p class='c012'>In a building to the right of the approach to the
Mosque are the <i>Tombs of the Khedivial Family</i>, worth
seeing for their queerness; there is nothing like them in
Alexandria. The Mausoleum is cruciform, painted to
imitate marble, and covered with Turkish carpets.
Out of the carpet rise the tombs, of all sizes but of similar
design, and all painted white and gold. A red tarboosh
indicates a man, a crown with conventionalised hair
a woman. The most important person buried here is
Said Pacha—third tomb on the right. He was the son
of Mohammed Ali and ruled Egypt 1854-1863: Mohammed
Ali himself lies at Cairo.</p>

<p class='c012'>Between the Mausoleum and the street:—a fountain
with eaves and a dome; Turkish style.</p>

<p class='c012'>Opposite the Mosque:—some antique columns used
as gate posts; perhaps the facade of the Mouseion
stretched along here (p. <a href='#Page_17'>17</a>).</p>

<p class='c012'><span class='pageno' id='Page_106'>106</span>Behind the Mosque:—Fort of Kom-el-Dik. View.
Site of ancient Paneum or Park of Pan—the summit of the
hill was then carved into a pinecone, which a spiral path
ascended.—In Arab times the walls of the shrunken city
passed to the south of Kom-el-Dik, (p. <a href='#Page_81'>81</a>), and a fine
stretch of them still survives, half-way between the base
of the Fort and the railway station; they border the
road, but cannot be seen from it, being sunken; they
include a moat.—Beyond the Fort the high ground continues;
the little Arab quarter of Kom-el-Dik is built
along its crest, and the winding lanes, though insignificant,
contrast pleasantly with the glare of the European
town.</p>

<p class='c012'>We return to the <span lang="fr" xml:lang="fr">Rue Rosette</span>.</p>

<p class='c012'><a id='saba'></a>A little further down the <span lang="fr" xml:lang="fr">Rue Rosette</span> a turning on
the left leads to the <i>Church and Convent of St. Saba</i>, the
seat of the Greek Orthodox Patriarch. (For history of
Patriarchate <i>see</i> p. <a href='#Page_211'>211</a>). A church was founded here in
615, on the site of a Temple of Apollo. The present
group dates from 1687, and has an old world atmosphere
that is rare in Alexandria. In the quiet court of the
Convent are three tomb stones of British soldiers, dating
from Napoleonic times: Colonel Arthur Brice of the
Coldstreams, k. in the Battle of Alexandria, 1801 (p. <a href='#Page_88'>88</a>)
Thomas Hamilton Scott of the 78th, and Henry Gosle,
military apothecary, who both died during General
Frazer’s disastrous “reconnoitering” expedition, 1807,
(p. <a href='#Page_89'>89</a>).—From the court, steps descend to the church
which has been odiously restored. In the nave, eight
ancient columns of granite, now smeared with chocolate
paint. In the apse of the sanctuary, fresco of the Virgin
and Child. Right—Chapel of St. George with a table
said to be 4th cent., and an interesting picture of the
Council of Nicaea (p. <a href='#Page_48'>48</a>); the Emperor Constantine
presides with the bishops around him and the heretic
Arius at his feet. Left—Chapel of St. Catherine of Alexandria,
with a block of marble purporting to come from
the column where the saint was martyred.—Hanging outside
the church, three fine bells.</p>

<p class='c012'><span class='pageno' id='Page_107'>107</span>At the top of the street, to left, is the Greek Hospital,
a pleasant building that stands in a garden.</p>
<hr class='c014' />
<p class='c012'>The <span lang="fr" xml:lang="fr">Rue Rosette</span> now passes the Native Courts (left)
and reaches the Municipal Buildings. Behind the latter, a
few yards up the <span lang="fr" xml:lang="fr">Rue du Musée</span>, is the Municipal Library;
go up the steps opposite the entrance gate; push the
door. The Library is good considering its miserable
endowment; the city that once had the greatest Library
in the world now cannot afford more than £300 per
annum for the combined purchase and binding of her
books.</p>

<p class='c012'>Beyond the library is a far more adequate institution—the
Greco-Roman Museum.</p>
<h4 id='p2s1t07' class='c026'>THE GRECO-ROMAN MUSEUM.</h4>
<p class='c007'>The collection was not formed until 1891, by which
time most of the antiques in the neighbourhood had
passed into private hands. It is consequently not of the
first order and little in it has outstanding beauty.
Used rightly, it is of great value, but the visitor who
“goes through” it will find afterwards that it has
gone through him, and that he is left with nothing but a
vague memory of fatigue. The absence of colour, the
numerous small exhibits in terra cotta and limestone, will
tend to depress him, and to give a false impression of a
civilization which, whatever its defects, was not dull. He
should not visit the collection until he has learned or
imagined something about the ancient city, and he should
visit certain definite objects, and then come away—a
golden rule indeed in all museums. He may then find
that a scrap of the past has come alive.</p>
<div  class='figcenter id001'>
<span class='pageno' id='Page_108'>108</span>
<img src='images/i125.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'>Plan of Greco-Roman Museum</span></p>
</div>
</div>

<p class='c012'>The collection is well housed (date of building 1895)
and well catalogued. There is a Guide (in French) by
the Director, Professor Breccia, extracts from which are
pasted up about the rooms. On this scholarly work the
<span class='pageno' id='Page_109'>109</span>following notes are based. They are compiled, however,
from a particular point of view. They attempt to illustrate
the historical section of the book (p. <a href='#Page_1'>1</a>), and are
connected with it by cross references.</p>

<p class='c012'>For arrangement of exhibits, see Plan p. <a href='#Page_108'>108</a>.</p>
<p class='c033'>INTRODUCTION.</p>
<p class='c012'>The Museum mainly illustrates the civilization of
Ancient Alexandria. There are some portraits—not
satisfactory—of the Founder (Room 12), and magnificent
coins of the Ptolemies (Room 3); also sculptures of them
(Rooms 4, 12). Their religious policy appears in the
statues of Serapis (Room 16). As for the Roman Emperors,
we have besides their coins (Room 2) colossal
statues of Marcus Aurelius (Room 12), and of Diocletian
(?) (Room 17); then some gold coins of their Byzantine
successors (Room 5). Meanwhile the career of the
private citizen is also being illustrated, but mainly in
his grave. Masses and masses and masses of funerary
stuff (Rooms 6, 13, 14, 15, 17-21), mostly dull, but
attaining great beauty in the terra cotta statuettes of
women (Room 18). The “Egyptian Queen” pottery
(Room 17) is more cheerful. In the same room is lovely
glass. With Christianity, the Alexandrian, though still
mainly presented to us through his tombs (Room 1),
develops the interesting cult of St. Menas (Rooms 1, 5,
22, A.).</p>
<hr class='c014' />
<p class='c012'>The Museum also exhibits, though imperfectly, other
aspects of Egyptian life.</p>

<p class='c012'>(i). <span class='sc'>Pharaonic Egypt</span>:—There are some mummies,
etc. from Thebes, Heliopolis, etc. (Rooms 8 and 10),
but they have the air of being here because not good
enough for Cairo; also a collection of small objects
(Room 10), and Rameses statues from Aboukir (Room
9 and North Garden). The blend of Pharaonic and
Hellenistic is shown in Room 11.</p>

<p class='c012'><span class='pageno' id='Page_110'>110</span>(ii). <span class='sc'>The Fayoum</span>:—This is the most important non-Alexandrian
section in the Museum. The Fayoum, an
irrigated depression south-west of Cairo, was developed
by Ptolemy II Philadelphus, and, as in Alexandria,
Greek and Egyptian mingled, but with different results.
It was barbaric and provincial. Note especially crocodile
worship (North Garden, Rooms 9, 22 A). Mummies of
quite a new type (Room 17). Black basalt statues
(Room 11). It is a pity that the Fayoum exhibits
cannot all be shown together.</p>

<p class='c012'>(iii). <span class='sc'>Akhmin</span>:—An early Christian Necropolis in
Upper Egypt. Hence come the robed mummies (Room
1), and the fragments of tapestry (Rooms 1, 2, 4), whose
beauty will linger when many a grandiose statue has been
forgotten.</p>
<p class='c033'>VESTIBULE.</p>
<p class='c012'><span class='sc'>Plans, Photographs, etc</span>.</p>

<p class='c012'>Note especially (1) Thiersch’s reconstruction of the Pharos
and (10) Photographs of Kait Bey Fort, where the Pharos stood.
(p. <a href='#Page_16'>16</a>). (8) Cleopatra’s Needle in situ (p. <a href='#Page_161'>161</a>). At the entrance
of Room 6 (left) is a cast of the Rosetta Stone (p. <a href='#Page_185'>185</a>) which
contains a tri-lingual decree (Hieroglyph, which was the script of
the Ancient Egyptian priests, Demotic, a running hand-writing
evolved from it, and Greek); the decree was passed by the priests
of Memphis, B.C. 196, in honour of Ptolemy V Epiphanes. The
original stone was discovered by the French in 1799 in the Fort of
St. Julien, Rosetta—water-colour of it hangs close by. General
Menou had to surrender it to the English in 1801, and it is now
in the British Museum. Carducci’s fine poem on Alexandria
hangs framed on the adjacent wall.</p>

<p class='c012'>In the case are stone-age tools from the Fayoum.</p>

<p class='c012'>From the Vestibule are: right, Room 1 (Christianity); left,
Room 6 (Inscriptions); straight ahead, the Verandah leads
between the Garden Courts to Room 17.</p>
<p class='c013'>ROOM 1: <span class='sc'>Christian Remains</span>.</p>
<p class='c012'><span class='sc'>Right Wall</span>: Inscriptions. 106 shows a cross with a
looped top, directly derived from the symbol of life (ankh) that
the ancient Egyptian gods carry (p. <a href='#Page_69'>69</a>). In the middle of the
wall <i>Case A</i>: terra cotta dolls, etc. from St. Menas.</p>

<p class='c012'><span class='sc'>Centre of Room</span>: facing door:—magnificent Byzantine
capital, supposed to have been in the church of St. Mark (p. <a href='#Page_46'>46</a>).
Found in the <span lang="fr" xml:lang="fr">Rue Ramleh</span>. <i>Case K</i>: Carved ivories and bones,
<span class='pageno' id='Page_111'>111</span>mostly from Alexandrian rubbish heaps—1979, 2012, 2021, 2025
are good examples. <i>Case I</i>: Interlaced cushion from the Christian
necropolis of Antinoe, Upper Egypt. Middle of room: fine
porphyry cover to a sarcophagus, decorated on each side by a
charming head. From the Lebban quarter. Beyond: Christian
mummies from Antinoe, still wearing their fine embroideries.
At the end: another Byzantine capital, found near the Mahmoudieh
Canal.</p>

<p class='c012'><span class='sc'>Left Wall</span>, centre: <i>Cases La</i> and <i>M</i>.: Flasks from
St. Menas. They were filled with water, which must soon have
evaporated, and exported all over the Christian world: usual
design—the Saint between camels. Between the vases interesting
fragments from a church to St. Menas at Dekhela; (p. <a href='#Page_171'>171</a>), the
<span lang="fr" xml:lang="fr">bas-relief</span> of the Saint is a clumsy copy of the one that stood in his
shrine in the desert (p. <a href='#Page_195'>195</a>). <i>Cases P.</i>, <i>Q.</i>,
<i>R.</i>, <i>S.</i>: Coptic tapestries from Akhmin and
Antinoe—beautiful. Date 3rd cent. onward. Near <i>Case N</i>, two
absurd reliefs (Christian era) of Leda and the swan—in one of them she
holds an egg.</p>
<p class='c013'>ROOM 2: <span class='sc'>Coins</span>.</p>
<p class='c012'>Chronological continuation of the Ptolemaic coins in Room
3, which should be visited first. Illustrate history of Alexandria,
and also her religion, under Rome and afterwards under Constantinople.
Series begins in <i>Case A</i> (further right-hand corner)
with Octavian (Augustus) 675; <i>Case B</i> No. 675 (of Domitian)
shows the Pharos (<i>see</i> p. <a href='#Page_16'>16</a>). 750 (of Trajan)—a temple to Isis
in Alexandria, with pylons between which the goddess stands.
771 shows Serapis on his throne. 890-892, the sacred basket
that he sometimes carries on his head. <i>Case C</i>, 1363-1366—interviews,
very friendly, between the emperor Hadrian and
Alexandria. 1409—interviews between him and the god Serapis.
1450, Isis as guardian of the Pharos.</p>

<p class='c012'><span class='sc'>Round the Room</span>: Four marble capitals from St. Menas.</p>
<p class='c013'>ROOM 3: <span class='sc'>Coins</span>.</p>
<p class='c012'>The collection of Ptolemaic coins begins in <i>Case Ab</i> (right of
room) and continues through <i>Case C-D</i> (left) and <i>Case E-F</i>
(entrance). The coins are numbered consecutively. They are
of great historical and artistic interest, but must not be taken
seriously as portraits, since the ruler is generally approximated
to some god (<i>i.e.</i> numeral ‘one’ 1). Silver four drachma of Alexander
the Great, struck by his Viceroy Cleomenes. 2-45. Ptolemy
I as Viceroy. On the obverse is always the head of Alexander the
Great, with horns of the God Ammon. 46-274. Ptolemy I as King
(Soter). A new type gradually appears; on the obverse the head
of the King, on the reverse an eagle (note 14 gold coins—four-drachma
pieces). 275-510. Ptolemy II (Philadelphus) instructive
for the domestic history of his reign (p. <a href='#Page_14'>14</a>). At first the King
<span class='pageno' id='Page_112'>112</span>appears alone—<i>e.g.</i> on gold five-drachma. 275-280. Then his
formidable sister and wife Arsinoe is alone—gold coin 342. Then
the couple appear together—gold 428-434, while on the other side
of the coins are their predecessors, Ptolemy I and his wife, to
show that the dynasty emanated in pairs. 551-619. Ptolemy III
(Euergetes). 620. Magnificent gold eight-drachma, representing
Euergetes, but struck by Philopator his son; the most gorgeous
coin in the collection. 621. Silver four drachma, with heads of
Serapis and Isis. Ptolemaic coinage now deteriorates; the
eagle in the later issues (<i>Case D</i>) becomes formalised and ridiculous.
1059 (<i>Case E</i>) features—what disillusionment!—Cleopatra!</p>

<p class='c012'><span class='sc'>Round the room</span>—Casts.</p>

<p class='c013'><span class='sc'>ROOM 4: Coins. Akhmin Tapestry.</span></p>
<p class='c012'>The coins are coppers of the later Roman Emperors.
Not beautiful. Of historical interest to Alexandria. In <i>Case
A-B</i> (right) 3884—Aurelian and Vabatathe. 3896—Zenobia.
In <i>Case C-D</i> (left) 4024—Diocletian.</p>

<p class='c012'><span class='sc'>Round the walls</span>: 1-8. Tapestries from the Christian
cemetery at Akhmin.</p>

<p class='c012'><span class='sc'>Back wall</span>: Large and impressive statue of a mourning
woman with her child. Hellenistic. Perhaps represents Berenice
wife of Ptolemy III Euergetes, mourning for her little daughter—the
daughter whom the priests deified in the Decree of Canopus,
B.C. 239 (p. <a href='#Page_42'>42</a>).</p>

<p class='c012'><span class='sc'>Entrance of room</span>: Large Christian Jar.</p>

<p class='c013'><span class='sc'>ROOM 5: Coins.</span></p>
<p class='c012'>Beautiful Byzantine gold coins. Note especially the Emperor
Phocas and his conqueror Heraclius (p. <a href='#Page_53'>53</a>); the latter
displays the Exaltation of the Cross, recovered by him from the
Persians.</p>

<p class='c012'><span class='sc'>Back wall</span>: Pilaster from the Hospice at St. Menas. The
cross has been erased, probably at the Arab conquest. At each
end of it, more St. Menas flasks.</p>

<p class='c012'><i>Case A</i>: Painted masks, from the (pagan) Necropolis of
Antinoe. <i>Case B</i>: Christian potteries from Kom es Chogafa.</p>
<hr class='c014' />
<p class='c012'>Return to Vestibule.</p>
<p class='c013'><span class='sc'>ROOM 6: Inscriptions, etc.</span></p>
<p class='c012'>This room contains nothing of beauty, but is interesting
historically. The exhibits are not in numerical order.</p>
<p class='c012'><span class='sc'>Right wall</span>, close to entrance: 42—Inscription on a
statue of Antony (p. <a href='#Page_26'>26</a>), dedicated on December 24th, B.C. 50
(Found near Ramleh Station, <i>i.e.</i> the site of the Caesareum).
2. Dedication to Ptolemy II Philadelphus. 1. Dedication to
Ptolemy I. 37. Doorway with inscription to Ptolemy VI; in
<span class='pageno' id='Page_113'>113</span>it is a case containing (59) two bronze plaques belonging to a
Roman Soldier, (Julius Saturninus), inscribed with a certificate
of his good services and privileges. 61<i>a</i>, also in the case, is
another military document, a wooden tablet written at Alexandria,
but found in the Fayoum, and also conferring benefits on a
veteran. 94. Base of a statue of the Emperor Valentinian (4th
Cent. A.D.); found in <span lang="fr" xml:lang="fr">Rue Rosette</span>. 88<i>b</i>. Tombstone with the
figures of Isidore and Artemisia, two ladies of Pisidia, found at
Hadra. 87<i>b</i>. Tombstone of a lady with her servant.</p>

<p class='c012'>Then come some painted tombstones protected by glass;
they are inferior to some in the rooms further on. 119 (in corner
of room); Tombstone of a woman expiring between two friends.</p>

<p class='c012'><span class='sc'>Left wall</span>: Inscriptions and tombstones of the Roman
period (p. <a href='#Page_44'>44</a>). 480. On a pedestal: Memorial of Aurelius
Alexander, a Roman soldier of Macedonian birth who died aged
31. 252. Another of Aurelius Sabius, a Syrian soldier, aged 35.</p>

<p class='c012'><span class='sc'>Each side of the room</span>, near entrance door: Two <i>Cases</i>
of papyri—the left hand one containing two interesting inscriptions.
119. Incantation to the Nile and to the great spirit Sabaoth
shewing mixture of Egyptian and Jewish faiths. 122. Demand
of Aurelia, priestess of the crocodile god, Petesouchos, for certificate
of having worshipped the gods. It was made during the
Decian persecution, (p. <a href='#Page_46'>46</a>), and suggests that, despite her
position, she had been accused of Christianity. 352<i>b</i>. On a
pedestal: Colossal scarab. 35<i>b</i>. Fine headless sphinx. 351.
Great Apis bull (restored); period of Hadrian. 350. Sphinx,
rather sentimental, with crossed paws. All these last four were
found near Pompey’s Pillar. (p. <a href='#Page_144'>144</a>).</p>
<p class='c013'>ROOM 7: <span class='sc'>Ancient Egypt: Canopus</span>.</p>
<p class='c012'>These monuments, though mostly found in the Aboukir sites
(p. <a href='#Page_180'>180</a>), may have been imported there at some unknown date
from Heliopolis or Sais.</p>

<p class='c012'>1. Statue of a Hyksos Pharaoh (Shepherd King, about B.C.
1800) which has been appropriated by Rameses II (B.C. 1300);
on the shoulder appears Rameses’ daughter Hout-Ma-Ra, traditionally
the princess who found Moses in the bullrushes.</p>

<p class='c012'>18. Part of a statue of Rameses II.</p>

<p class='c012'><i>Case C</i> (left of room). Two statues of a Ptolemaic official;
from the Temple of Serapis, Alexandria, (p. <a href='#Page_146'>146</a>).</p>
<p class='c013'>ROOM 8: <span class='sc'>Ancient Egypt</span>.</p>
<p class='c012'>Five mummy cases.</p>

<p class='c012'><i>Case B</i> (right): The interior is painted—an eerie receptacle.
By the head, a winged serpent; along the sides, a serpent with
the sign of Life (cf. the Coptic Cross, Room 1, No. 106, also p. <a href='#Page_69'>69</a>),
and genii, mostly serpent-headed. The mummy lay on the sun-goddess
Neith, on a serpent entwined round a lotus, and on the
<span class='pageno' id='Page_114'>114</span>soul as a bird. The outside of the case is also painted. From
Deir el Bahri, Upper Egypt.</p>

<p class='c012'><i>Case E</i> (centre): Richly painted mummy with the goddess
Neith on its breast. Very effective. Date—about B.C. 600.</p>

<p class='c012'>3 (back wall): Relief from over the door of a tomb. Left
the deceased, enthroned between two bouquets of lotus: to one
of them a couple of ducks are tied. Then comes an old harpist,
who is singing, accompanied by a girl on a drum, and by two
others who clap their hands. To the right, a man preparing
drink; then two dancing girls. Beautiful work. From Heliopolis.</p>
<p class='c013'>ROOM 9: <span class='sc'>Ancient Egypt: Crocodile worship</span>.</p>
<p class='c012'>The contents of this room, though not Alexandrian, are
Ptolemaic, and well illustrate that dynasty in its Egyptian aspect.
They come from the Temple of Petesouchos, the crocodile god
of the Fayoum. The temple was adorned by Agathodorus, a
Greek official there B.C. 137, in honour of Ptolemy VII (Physkon)
and of his two wives, one his sister, one his niece, and both called
Cleopatra. (For the marriage arrangements of this unattractive
monarch, <i>see</i> tree, p. <a href='#Page_12'>12</a>). The temple itself has been in part
brought to the Museum, and well set up in the North Garden
(<i>see</i> below).</p>

<p class='c012'><span class='sc'>Centre of room</span>: Wooden stretcher on which is a mummied
crocodile. It was carried thus in procession by the priests, as
the water colour below (copy of a fresco) shows. The stretcher
rests on a wooden chest, also found in the shrine.</p>

<p class='c012'><span class='sc'>Back wall</span>: Wooden door of the outer gateway (<i>see</i> North
Garden). Greek inscription. Here are some photographs by
which the temple can be reconstructed.</p>

<p class='c012'>39 (right of the chest): an offering table to the god, ornate
and unpleasing. He lies in a little tank.</p>

<p class='c012'><span class='sc'>Left of the entrance door</span>: Relief of a priest adoring the
god, who crawls upon lotus flowers.</p>
<p class='c013'>ROOM 10: <span class='sc'>Ancient Egypt: Small exhibits</span>.</p>
<p class='c012'><span class='sc'>In the entrance</span>: Offering table, with basins for the
libations.</p>

<p class='c012'><span class='sc'>Right wall</span>—<i>Case C</i>; Statuettes of gods, all named. The
most interesting for the history of Alexandria are 3-25 Osiris,
and 26-40 the bull Apis, with whom he was compounded to make
Serapis. (p. <a href='#Page_18'>18</a>).</p>

<p class='c012'><i>Case D</i>: Mummies of a baby, of an eagle, of an ibis.</p>

<p class='c012'><i>Case Aa—Shelf b</i> (at the top): winged scarabs in blue
enamel. <i>Shelf k</i> (No. 1): statuette of Sekhet, goddess of the
heat of the sun—she has the head of a lioness and holds a gold
flower. <i>Shelf f</i>: Bast, the cat-god. No. 39 has a kitten between
the paws. 51 gold earrings. <i>Shelf 1</i> has more statues of Bast.
55 very good.</p>

<p class='c012'><span class='pageno' id='Page_115'>115</span><span class='sc'>Left wall</span>: <i>Case h</i> “Canopic” vases of alabaster. Used
to hold those parts of the dead that could not be embalmed.
Each dedicated to a son of Horus. Amset held the stomach;
Hapi the intestines; Douamoutef the lungs; Kebehsenouf the
liver. For their connection with the town of Canopus, <i>see</i> p. <a href='#Page_176'>176</a>.</p>

<p class='c012'><i>Case Bb</i>:—More statuettes—especially <i>shelf i</i>.—Harpocrates
and Horus, and <i>shelf k</i>. Isis nursing Horus—the artistic origin
for the Christian design of the Madonna and Child. (p. <a href='#Page_69'>69</a>).
There are some rattles and vases of the Isis cult.</p>

<p class='c012'><i>Case L</i>: Little serving figures (Ushabti), which were put in
the grave with the mummy to do the work for it in the underworld.</p>

<p class='c012'>Also round the wall of the room: six painted mummy
cases.</p>

<p class='c012'>Down the middle: two big tables of scarabs, amulets, gold
trinkets, etc.</p>
<p class='c013'>ROOM 11. <span class='sc'>Greco-Egyptian.</span></p>
<p class='c012'>Objects in which the Greek and Egyptian influences mingle.
They are few in number, and not as interesting as one might
expect. No living art was born from the union.</p>

<p class='c012'><span class='sc'>Right wall</span>: 18. Dedication to the Egyptian god Anubis
with a Greek inscription. 20. Profile of a Ptolemy—rather
charming. 33-40. Serpent worship—very repulsive. 40. is a
curious mixture. The male snake has the basket of Serapis and
the club of Hercules; the female, the disc of Isis and the sheaf
of Ceres. 41. Bad painting, Greek style, of a girl with Egyptian
gods round her. From Gabbari.
<span class='sc'>
End wall</span>—both sides: 43-53. Clumsy statues from the
Fayoum, in which Greek influence appears.</p>

<p class='c012'><span class='sc'>Left wall</span>—centre: 61. Large fragment of a relief from
a temple at Benha; left, Horus with a falcon’s head; right, a
human figure, by whose side is a Greek inscription. 62. Model
of a shrine, mixed style: in the sanctuary Isis nurses Horus.
69. (in <i>case A</i>)—beautiful statue (headless) of a woman, Egyptian
style, but Greek feeling.</p>

<p class='c012'>Archway between Rooms 11 and 12. <span class='sc'>On right</span>: Portrait
of a youth in white marble (from Kom es Chogafa). <span class='sc'>Left</span>: Pleasing
portrait of a child of two or three years of age.</p>
<p class='c013'>ROOM 12: <span class='sc'>Portraits: mostly Greco-Roman in style.</span></p>
<p class='c012'><span class='sc'>Centre</span>: 30. Dull colossal statue of Marcus Aurelius. The
Emperor, looking bored but benignant, appears as a general: his
right arm rests on a cornucopia. A cross has in Christian times
been scratched on the stomach of the cuirass.—From <span lang="fr" xml:lang="fr">Rue Rosette</span>.</p>

<p class='c012'><span class='sc'>Right wall</span>: 8. Exquisite bust of Venus; 16<i>a</i> and 17.
Heads, in marble and granite, of Alexander the Great (p. <a href='#Page_8'>8</a>);
of no artistic merit; but found in Alexandria. 18. Head of a
<span class='pageno' id='Page_116'>116</span>young soldier. 20. Marble head of a goddess; beautiful hair.
Found near Pompey’s Pillar. 21. Head, perhaps of Berenice wife
of Euergetes; found in same place.—<i>Cabinet A</i>: small
portraits: note as especially fine 15 and 15<i>a</i> Ptolemy Euergetes (?) and 12
Berenice his wife (?) with elaborate curls; they stand in the
centre of the case on the second shelf. <i>Cabinet D</i>: Alleged
portrait in marble of Cleopatra in her declining years. Thin,
firmly compressed lips and general expression of severity discredit
the theory. 60. Colossal granite head of Ptolemy IV Philopator;
from Aboukir.</p>

<p class='c012'><span class='sc'>Left wall</span>: 51. Bust of Emperor Hadrian. 52. Head in
white marble—noble features, supposed to be those of Marcus
Aurelius in youth. <i>Cabinet B.</i> Heads and torsos: No. 27 Centre
shelf, Head of a child with radiant smile—found in Alexandria.
36. Head of Zeus, hirsute countenance—thick lips. Has been
scalped. <i>Cabinet F.</i> Various small bronzes; 44. Life-sized head
of woman in marble: has Rosetti-like neck and mouth.</p>
<p class='c013'>ROOM 13. <span class='sc'>Miscellaneous.</span></p>
<p class='c012'><span class='sc'>Centre</span>: 1. Statue of an Emperor, on which a head of
Septimus Severus has been fixed.</p>

<p class='c012'>In <i>Case F</i> (right): 2. Smiling face of a Faun. On the top
of the case, a queer relief of a winged griffin and a woman on
two wheels. (Nemesis?).</p>

<p class='c012'>In <i>Case H</i> (left): 2. Caricature of a Roman senator with a
rat’s head.</p>
<p class='c013'>ROOM 14. <span class='sc'>Miscellaneous.</span></p>
<p class='c012'><span class='sc'>Centre</span>: Mosaic from Gabbari, once displaying a Medusa’s
head.</p>

<p class='c012'><span class='sc'>Back wall</span>: 1. Marble statue of a Roman Orator. The
head does not belong.</p>

<p class='c012'><span class='sc'>Left corner</span>: 2-4. Delicate architectural details. From
<span lang="fr" xml:lang="fr">Rue Sultan Hussein</span>.</p>

<p class='c012'><span class='sc'>Left wall</span>: 6. Door of a tomb-niche, blending Greek and
Egyptian styles. The table in front is from the same tomb and
was used for funeral offering. From the Western Necropolis.</p>
<p class='c013'>ROOM 15. <span class='sc'>Architectural.</span></p>
<p class='c028'>Small fragments, etc., many of them very dainty and
showing traces of paint.</p>

<p class='c034'><span class='sc'>Right wall</span>: 9. Sacrificial altar, imitating a building, with
doors realistically ajar.</p>

<p class='c034'>On a column in the right-hand corner: 2. Capital, well
illustrating mixture of styles; the general form and the acanthus
leaves are Greek, the lotus, papyrus, and serpents are Egyptian.</p>

<p class='c034'><span class='sc'>Middle wall</span>, behind a curtain: 20. Painted side of a
sarcophagus; a shallow and pretty design of two game cocks
about to fight across a festoon of flowers. 2nd Cent. A.D.</p>

<p class='c043'><span class='pageno' id='Page_117'>117</span><span class='sc'>Left wall</span>: 50. Other side of same sarcophagus: buildings
in perspective.</p>
<p class='c044'>ROOM 16. <span class='sc'>Statues, mostly Greco-Roman in style.</span></p>
<p class='c045'><span class='sc'>Right wall</span>: 4. Marble torso of a young hero or god; the
head and arms, which were worked separately, are lost, good work.
From Alexandria—probably on a temple. 7-8. <i>On a shelf</i>—Statuettes,
headless and insignificant, but interesting for their
subject:—Alexander the Great as a god with the aegis. From
Alexandria. 12. On a column—Bust of the composite-goddess
Demeter-Selene, showing head-dress of Demeter and horns of
the moon. 21-23: Priestesses of Isis, recognisable by the sacred
knots into which their shawls are tied in front. 28. Large Ionic
capital; another stands opposite, four others in the garden court.
From Silsileh, and is probably part of the Ptolemaic Palace.
(p. <a href='#Page_17'>17</a>) 27. Greek funeral relief, as old as 3rd Cent. B.C. Found
at Alexandria, but probably imported from Athens.</p>

<p class='c045'><span class='sc'>Centre of room</span>: 31. Fine bath of black stone, decorated
with heads of lions and of a lynx, through whom the water escaped.
Further on (37) is another. Both from the Western
Necropolis, where they were used as tombs. 33. Colossal votive
foot, merging above the ankle into a bust of Serapis. On the
head a Greek dedication, to Serapis from two of his worshippers;
two serpents above with a child (Horus?) between them. From
Alexandria. 34. An immense eagle, rather cumbersome, and presented
by the late Khedive; from the island of Thasos. 39.
Gigantic forearm, holding a sphere. From Benha.</p>

<p class='c045'><span class='sc'>Left wall</span>: 40. Big limestone Corinthian capital. 3rd
cent. B.C. 47, 48, 49, 51, and (<i>on shelf</i>) 53 and 52<i>a</i>: Statues
and Heads of Serapis. Important (p. <a href='#Page_19'>19</a>). 47 is probably
a Roman copy of the original—ascribed to Bryaxis—in the
Temple, and well renders the type—half terrible half benign.
On its head are the marks where the sacred basket was attached.
From the <span lang="fr" xml:lang="fr">Rue Adib</span>. 48. shows Cerberus. 52 and 52<i>a</i> were
found near the actual Serapeum; the blue-black colour of the
latter recalls the original statue. 50. Priest of Serapis (?) headless;
robe with seven-rayed stars, scarabs, the crescent moon.
Apis Bulls and a great serpent. From the Temple. 53. Realistic
Portrait head. 54. Apollo seated on the Omphalos, or Navel of
the World at Delphi; a rare subject; probably imported from
Antioch, Asia Minor. 59-59. Headless statues, Roman, some
with rolls of papyrus by them. From Sidi Gaber. 62. Entrance
of Room 17: Genius of Death asleep.</p>
<p class='c046'>ROOM 17: <span class='sc'>Miscellaneous.</span></p>
<p class='c045'>An interesting room.</p>

<p class='c045'><span class='sc'>Centre</span>: Delightful mosaic of a water party in Upper
Egypt; birds, frogs, eels, fish, hippopotami and pigmies; in the
middle a lady and gentleman with their offspring and an attendant
<span class='pageno' id='Page_118'>118</span>recline beneath an awning that sways in the wind. Caesar and
Cleopatra may have disported themselves thus (p. <a href='#Page_25'>25</a>). Greek
inscription and ornamental border.</p>

<p class='c045'><span class='sc'>Back wall</span>: Colossal headless porphyry statue of Diocletian
(?) on a throne. From <span lang="fr" xml:lang="fr">Rue Attarine</span>.</p>

<p class='c045'><span class='sc'>In front of statue</span>: Marble sarcophagus; Dionysus and
Ariadne. From the Western Necropolis. The type is rare in
Alexandria, the decorations being generally fruit or flowers.</p>

<p class='c045'><span class='sc'>Placed about the room</span>: Mummies from the Fayoum
(<i>see</i> preliminary note); the best (<i>Case U</i>) stands against a pillar;
it has a realistic portrait of the deceased, painted on wood.</p>

<p class='c045'><span class='sc'>Round the walls</span>: <i>Case A</i> Lovely iridescent glass; the
Alexandrian glass was famous. <i>Case D</i>, terra cotta dish for
serving poached eggs. <i>Table Rr</i>: Funerary objects from the
Western Necropolis; 2506, &amp;c., Gnostic Amulets (p. <a href='#Page_71'>71</a>).
<i>Case G</i> and adjoining <i>Table S</i>: Fragments of “Egyptian Queen”
pottery, a commercial product of Ptolemaic times. The type was
a green enamel vase on which was a relief of a princess sacrificing
at an altar with some such inscription as “Good luck to Queen
Berenice.” These vases were bought as ornaments by loyal
citizens and tourists. <i>Case G</i>: Funerary furniture; in the
centre a skull, wreathed with artificial laurel. 3rd cent. B.C.
(From the Chatby Necropolis. p. <a href='#Page_164'>164</a>). <i>Case K</i>: Fine cinerary
urns, dated—earliest, 281 B.C.—Right and left of the door into
the gardens; Marble sarcophagi of the usual Alexandrian design.
<i>Cases P</i>. Glass vases of exquisite hue and design; there is more
beauty in this little case than in tons of statues.</p>
<p class='c046'>ROOM 18. <span class='sc'>terra cotta Statuettes</span>.</p>
<p class='c045'>The statuettes, of which the best are Hellenistic and Alexandrian,
were at first connected with funeral rites and later
placed in the tomb from the sentiment that prompts us to drop
flowers, especially when the dead person is young. They have
mostly been found in the tombs of children and women. They
are the loveliest things in the Museum.</p>

<p class='c045'><span class='sc'>Facing entrance</span>, and to right, (<i>Cases HH</i> and <i>A</i>): Cinerary
urns from Alexandria.</p>

<p class='c045'><span class='sc'>Left wall</span>: <i>Case F</i> (covered with curtain): Here are the
masterpieces—27 statuettes of women. 1, 4, 7, 8, 12, 13, are the
most beautiful perhaps—so delicate but so dignified. 1. is
crowned with ivy and wears tiny earrings; the shape of her arm
shown through the wrap that covers it. 7. carries her child.
12. with her little draped head is curiously impressive. <i>Case G</i>:
1. Child on his mother’s shoulder. <i>Case H</i>: 1. Child on a toy
chariot, full of grapes and drawn by dogs. <i>Case I</i>: Caricatures.
<i>Case L</i>: Moulds for terra cotta. <i>Case</i> in corner, also <i>FF</i>:
Fragments from Naucratis, the Greek predecessor of Alexandria
in Egypt.</p>

<p class='c045'><span class='pageno' id='Page_119'>119</span><span class='sc'>Right wall</span>: Terra cottas from the Fayoum—stupid and
vulgar.</p>

<p class='c045'><span class='sc'>Down the centre of room</span>: Four mosaics from Canopus
(p. <a href='#Page_180'>180</a>); they probably decorated the Temple of Serapis there.</p>
<p class='c046'>ROOM 19. <span class='sc'>Miscellaneous.</span></p>
<p class='c045'><span class='sc'>In entrance</span>: Funerary urn still garlanded with artificial
flowers. From Chatby. 3rd cent. B.C.</p>

<p class='c045'><span class='sc'>Centre</span>: Mosaic—the best geometrical mosaic in the
museum. From Chatby.</p>

<p class='c045'><span class='sc'>In angles of room</span>: <i>Cases A, B, C, D</i>: Terra cottas from
Kom es Chogafa. Note in <i>Case C, shelf b</i>, 1. Model of seven pots
and a big jar—like doll’s furniture; and in <i>Case D</i> some unamusing
grotesques.</p>

<p class='c045'>Also in the angles of the octagon: <i>Cases I, II, III, IV</i>.
Funerary furniture from Hadra. (p. <a href='#Page_156'>156</a>). In <i>Case I</i> are two
beautiful objects; a blue enamel vase decorated with faces of
Bes, Egyptian god of luck; and (<i>shelf b</i>, 2): Terra cotta statuette
of a boy, who clings, laughing, to a term of Dionysus, and holds
an apple in his hand.</p>
<p class='c046'>ROOM 20. <span class='sc'>Chatby Necropolis.</span> (p. <a href='#Page_164'>164</a>).</p>
<p class='c045'>Several painted tombstones. The best are protected by
tinted glass, and better studied in the water-colour copies hanging
above.</p>

<p class='c045'><span class='sc'>Left of entrance</span>: 1. Isodora, a lady of Cyrene, with her
child. 2. A young Macedonian officer, riding; his orderly runs
behind holding the horse’s tail. Date 4th cent. B.C.—<i>i.e</i>. shortly
after Alexander had founded the city. 10231: Boy and child.</p>

<p class='c045'><i>Cases A and B</i>: Funerary furniture. In <i>Case B</i> are some
pretty terra cottas: 1, 2. Ladies sitting. 7, 8, 9. Schoolgirls at
lessons.</p>

<p class='c045'><i>Pedestal V</i> (right wall): Tombstone of young man with a
foot-stool and pet dog.</p>

<p class='c045'><span class='sc'>Centre of room</span>: Fine marble group, mutilated, of Dionysus
and the Faun. Found near the demolished Porte Rosette.</p>
<p class='c033'>ROOM 21. <span class='sc'>Ibrahimieh Necropolis.</span> (p. <a href='#Page_164'>164</a>).</p>
<p class='c012'><i>Case</i> in entrance: Wreaths of artificial flowers. Ugly
really, but one is impressed by their being so old. Double flute
of ivory.</p>

<p class='c012'><i>Case</i> in centre: Mummied birds from Aboukir (p. <a href='#Page_180'>180</a>).</p>

<p class='c012'><i>Cases D</i> and <i>F</i>: From Ibrahimieh. <i>Case D.</i> Inscription
in Aramaic—one of the few relics of the early Jewish settlement
at Alexandria (p. <a href='#Page_62'>62</a>); some more are on the floor. Date 3rd
cent. B.C. <i>Case F</i> (right wall) Cinerary urns. Groups in painted
piaster of the phallic Min (whom the Greeks identified with Pan),
Hercules, Horus, etc.</p>
<p class='c013'><span class='pageno' id='Page_120'>120</span>ROOM 22. <span class='sc'>Canopus.</span> (p. <a href='#Page_180'>180</a>).</p>
<p class='c012'>Disappointing; better work than this tenth rate Hellenistic
stuff must have existed at the great shrine.</p>

<p class='c012'><span class='sc'>Left wall</span>: 1-3:. Inscriptions of historical interest: they
mention Serapis and Isis, the deities of the place, and the
Ptolemies Philadelphus and Euergetes.</p>

<p class='c012'><span class='sc'>Back wall</span>: in cases, sculptures and terra cottas.</p>

<p class='c012'><span class='sc'>Right wall</span>: Stucco-coated columns from the Temple of
Serapis; others have been left in place.</p>

<p class='c012'><span class='sc'>Centre</span>: Mosaic from Alexandria.</p>
<p class='c013'>ROOM 22A. <span class='sc'>Frescoes.</span></p>
<p class='c012'><span class='sc'>Right of door</span>: Three pagan frescoes, connected with
crocodile worship (<i>see</i> Room 7 and North Garden). From
Temple of Petesouchos, Fayoum. Date 2nd cent. A.D. Thank
offerings to the god from Heron Soubathos, an officer: 1. He
stands. 2. He rides.</p>

<p class='c012'><span class='sc'>Rest of room</span>: Christian frescoes of great interest, from
crypt discovered in the desert beyond Lake Mariout. Date 5th
cent. A.D. A staircase led down to a square room. 1 and 2 are
from the ceiling of this room; from its walls come—3 St. Menas
standing between camels—4 and 5 the Annunciation. A passage
led to a smaller room; on its vault was 6 Head of Christ. In this
smaller room were 7 and 8. Out of it opened a little niche at the
end of which was 9 a saint in prayer among the scenery of paradise.</p>
<p class='c013'>VERANDAH AND GARDENS. <span class='sc'>Large Exhibits.</span></p>
<p class='c012'><span class='sc'>In the middle of the Verandah</span>: Colossal headless statue of
Hercules.</p>

<p class='c012'><span class='sc'>North Garden</span>: Left—Gateways and shrine of the <i>Temple
of Petesouchos</i>, crocodile god of the Fayoum (<i>see</i> Room 9 for
further details). The first gateway is the entrance Pylon, over
which is a Greek inscription dating the temple to B.C. 137. The
wooden door in Room 9 belonged here. On each side of the
gateway are lions. It led to a brick courtyard, in which was a
Nilometer. The court was closed by the second gateway, which
is flanked by sphinxes, and led to a second and similar court.
Then comes the third gate, and, closing the perspective, the shrine.
The shrine has three cavities, in each of which lurked a mummied
crocodile upon a wooden stretcher (<i>see</i> Room 9). In the left
cavity is the fresco of a crocodile; in the central the fresco of a
god with a crocodile’s head between two other deities. Over the
cavities are several decorative friezes—one of snakes. The outside
of the shrine is also frescoed to imitate marble. In front of
it was found a wooden chest (Room 9).</p>

<p class='c012'><span class='sc'>At back of Garden</span>: Granite group of Rameses II and his
daughter—headless. From Aboukir. Against the wall behind:
colossal green granite head of Antony as Osiris. From near
Nouzha (p. <a href='#Page_157'>157</a>). The companion head of Cleopatra as Isis is in
Belgium.</p>

<p class='c012'><span class='pageno' id='Page_121'>121</span><span class='sc'>South garden</span>: Two reconstructed tombs from the Chatby
Necropolis (p. <a href='#Page_164'>164</a>). The first (in the corner) is remarkable. The
sarcophagus imitates a bed with cushions each end. The chamber
where it stands was once preceded by a long vestibule for the
mourners (as in the Anfouchi tombs, p. <a href='#Page_126'>126</a>). The date 3rd.
cent. B.C. The second tomb has a shell vault niche (like Kom es
Chogafa, p. <a href='#i168'>148</a>).</p>
<hr class='c014' />
<p class='c012'>The <span lang="fr" xml:lang="fr">Rue Rosette</span> continues and at last issues from
between houses. Here, ever since its foundation, the
city has ended; in Ptolemaic times the Gate of the Sun
or Canopic Gate stood here, in Arab times the Rosetta
Gate. The Public Gardens (left and right) follow the
line of the Arab walls (see p. <a href='#Page_81'>81</a> and Section IV). The
tramway to Nouzha crosses the route. The road continues
under another name to Sidi Gaber (Section V),
thence to Ramleh, and to Aboukir (Section VII). It is
a good road and well planted; but terribly straight, like
all roads that the Ancients have planned.</p>
<div>
  <span class='pageno' id='Page_122'>122</span>
  <h3 class='c001'>SECTION II.</h3>
</div>
<hr class='c025' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div><span class='xlarge'>FROM THE SQUARE TO RAS-EL-TIN.</span></div>
  </div>
</div>

<p class='c007'><span class='sc'>Route</span>:—By the <span lang="fr" xml:lang="fr">Rue de France</span> and <span lang="fr" xml:lang="fr">Rue Ras-el-Tin</span> to
Ras-el-Tin promontory; returning to the Square by Anfouchi
Bay and the Eastern Harbour—the “Circular” Tram (Green
Triangle) runs along the Quays.</p>

<p class='c012'><span class='sc'>Chief points of interest</span>:—Terbana and Chorbagi Mosques;
Mosque of Abou el Abbas; Anfouchi Catacombs; Ras-el-Tin
Palace; Prehistoric Harbour; Fort Kait Bey; New Quays.</p>

<p class='c012'><span class='pageno' id='Page_123'>123</span>We start from the north-west corner of the Square.
The <span lang="fr" xml:lang="fr">Rue de France</span> traverses the “Turkish Town”
(p. <a href='#Page_84'>84</a>), which was built in the 17th and 18th cents. on
the spit of land that had accreted round the ruined
Ptolemaic dyke (p. <a href='#Page_10'>10</a>). Its bazaars and Mosques are
on a small scale, for the city was then at her feeblest.
But the district is picturesque and, especially at evening,
full of gentle charm. The best way of seeing it is to
wander aimlessly about.</p>

<p class='c012'>In the <span lang="fr" xml:lang="fr">Rue de France</span>:—Right: <span lang="fr" xml:lang="fr">Rue Pirona</span>. Built
into the wall at its entrance are fragments of Egyptian
sculpture, the lion-headed goddess Sekhet, &amp;c. The
road opens into a picturesque little square which contains
a former Native Tribunal, and a building (No. 4) that
has a carved gateway and a tranquil court yard with
antique columns.</p>

<p class='c012'>In the roads to the left of the <span lang="fr" xml:lang="fr">Rue de France</span> are
some Mosques:—</p>

<p class='c028'><i>Mosque of Sheikh Ibrahim Pacha</i>, off the south-west corner
of the Square; big ugly building with red and yellow minaret.</p>

<p class='c034'><a id='chorbagi'></a><i>Chorbagi Mosque</i>, in the <span lang="fr" xml:lang="fr">Rue el Midan</span>. Well worth a visit.
Date—1757. Plan—similar to the Terbana (<i>see</i> below). Exterior
spoilt by restoration, but the door from the vestibule into
the mosque proper has over it a trefoil arch full of brilliant tiles;
in the centre of the arch is a miniature praying niche (mihrab).—The
Interior, though mean architecturally, retains its magnificent
Tile Decoration almost intact. The tiles are grouped round the
walls in great panels, the design being sometimes geometrical and
sometimes a pot of flowers. Between the panels are bands of
contrasting tiles. Colours:—in the panels, yellow, green, and a
deep cornflower-blue predominate; in the bands, china-blue and
white. A few of the panels are of polished conglomerate stone.
The Prayer Niche—flanked by two bizarre twisted columns—has
the pot of flowers design. The door of the pulpit is handsome; it
has duplicated Cufic inscriptions, which on the right read from
<span class='pageno' id='Page_124'>124</span>right to left, as is usual, and on the left are reversed for the sake
of symmetry: a good instance of the decorative tendency of
Arab Art. Externally the Mosque is flanked by arcades; one
overlooks the street and is used by the Muezzin, since there is no
minaret; the other looks into a courtyard of stilted arches.</p>

<p class='c034'><i>Mosque of Abou Ali.</i> (Go nearly to the end of the long <span lang="fr" xml:lang="fr">Rue
Bab el Akdar</span>; thence, right, into <span lang="fr" xml:lang="fr">Rue Masguid Ali Bey Guenenah</span>;
thence, right again). There is nothing to see in this
humble little Mosque, but it is said to be the oldest in the city.
In it are the figures 677, which, if they record the date A.H.,
would mean 1278 A.D. The natives say that it once stood at
the edge of the sea, so that the faithful made their ablutions with
salt water before praying. The tradition may be correct, for
the old line of the coast lay here. (<i>see</i> map p. <a href='#Page_98'>98</a>). The
building in its present appearance cannot be earlier than the
18th cent.; in it, perched on the summit of the pulpit, is the
model of a boat.</p>

<p class='c029'><a id='terbana'></a>Continuing from the <span lang="fr" xml:lang="fr">Rue de France</span> we see ahead
the white mass of the <i>Terbana Mosque</i>.</p>

<p class='c028'>Well worth visiting, in spite of modern plaster and
paint. Date—1684. The little doorway on the street is in
the “Delta” style—bricks painted black and red, with occasional
courses of wood between them and Cufic inscriptions
above: “There is no God but God,” and “Mohammed is
the Prophet of God”; better examples of the style at Rosetta
(p. <a href='#Page_185'>185</a>). The rest of the ground floor is occupied by shops. At
the top of the stairs an interesting scene unfolds. To the left
are two great antique granite columns with Corinthian capitals,
and through them an open air terrace with an iron trellis and
barred windows. To the right is the Vestibule of the Mosque,
once very beautiful; two thirds of the entrance wall are still
covered with tiles, designed like those in the Chorbagi, and over
the door is the inscription “Built in 1097 A.H. by Haj Ibrahim
Terbana,” surmounted by a trefoil arch. More antique columns.
The Interior is a rectangle, divided up by eight columns, disfigured
but antique. Good painted ceiling, best seen from the
western gallery. The Prayer Niche is finely tiled, as is the wall
to its right; the large tiles with white daisies on them are inferior
modern work. Lamentable chandeliers.—There is an external
gallery with antique columns. The Minaret rises above the
entrance landing; its topmost gallery is tiled.</p>

<p class='c029'>The main route now takes the name <span lang="fr" xml:lang="fr">Rue Ras-el-Tin</span>.
Here once began the southern shore of the Island of
Pharos. Consequently ancient remains occur in situ.</p>

<p class='c012'><span class='pageno' id='Page_125'>125</span>Right: <span lang="fr" xml:lang="fr">Rue Sidi Abou el Abbas</span> leads to the square
of that name—the most considerable in the Turkish
Town; here, by evening light, one sometimes has the
illusion of oriental romance; here (1922) is the rallying
point of the Nationalist demonstrations. The road,
just before it enters the square, crosses the site of a
temple to Isis Pharia who watched over the lighthouse.
(see coin in Museum, Room 2).</p>

<p class='c012'><a id='abou'></a>Dominating the square is the great white <i>Mosque of
Abou el Abbas Moursi</i>, built 1767 by Algerians, some of
whom still live in the neighbourhood; the tomb of the
saint (d. 1288) is under a low dome; the other side of the
Mosque (reached by a winding passage to the right) has
an unrestored brick entrance in the “Delta” style, with
pendentives, tiles, and a Cufic inscription.—At the end
of the Square:—little <i>Mosque of Sidi Daoud</i>, with tomb
of the saint, from whose precinct two tall palm trees rise.—Just
off south side of square is a typical street tomb
(Sidi Abou el Fath), enclosed in its green lattice; of the
houses close to it No. 31 has good carved “Mashrabieh”
work, No. 33 a carved lintel, with door posts of alternate
courses of limestone and wood. All this tangle of lanes
preserves the atmosphere of the 18th cent. East.
Between the Abou el Abbas Mosque and the sea is a
large modern Mosque—the Bouseiri—where the Sultan
usually makes his Friday prayer; a little up the street is
a stone fragment, covered with hieroglyphs, and now
used upside down as a seat.</p>

<p class='c012'>The <span lang="fr" xml:lang="fr">Rue Ras-el-Tin</span> is now joined by the “Circular”
tram line. To the right is a large piece of waste ground.
In the corner of this, close to the road, are some dilapidated
glass roofs; these protect the Anfouchi Tombs;
the custodian lives close by.</p>
<div>
  <span class='pageno' id='Page_126'>126</span>
  <h4 id='p2s2t04' class='c026'>THE ANFOUCHI TOMBS.</h4>
</div>
<div  class='figcenter id001'>
<img src='images/i144.jpg' alt='' class='ig001' />
<div class='ic004'>
<p><span class='sc'>The Anfouchi Tombs</span><br />&nbsp;&nbsp;I. Vestibule with scribblings<br />&nbsp;II. Vestibule with chessboard decorations<br />III. Vestibule with benches<br />IV. Vestibule with Roman additions</p>
</div>
</div>
<p class='c029'>Though inferior to the Kom es Chougafa Catacombs,
(p. <a href='#i168'>148</a>), these tomb groups are interesting for their decoration
scheme. Their entrances adjoin, their plan is
<span class='pageno' id='Page_127'>127</span>similar:—a staircase, cut through the limestone, leads
down to a square hall out of which the tomb-chambers
open. The decoration is of stucco painted to imitate
marble blocks and tiles. It is shoddy, and sometimes
recalls the imitation wall papers of Victorian England.
Archaeologists know it as the First Pompeian style.
Date:—Ptolemaic with Roman additions. Name of
occupants: unknown.</p>
<p class='c047'><span class='sc'>Right-hand tomb group.</span> (<i>see</i> plan p. <a href='#Page_127'>127</a>).</p>
<p class='c034'>At the first turn of the stairs, protected by a cloth, is a good
picture. Subject:—Purification of the Dead by water (?);
Horus, with a falcon’s head, points with one hand to the land of
death, and with the other tries to draw the dead man towards
it; Osiris holds out a lustral vase; Isis is behind.—At the second
turn of the stairs is another picture, half destroyed;—Osiris sits
on a throne as king of the Dead with the dog-god Anubis behind
him; before him, just discernable, stands Horus introducing the
dead man.</p>

<p class='c034'>Thus the staircase reminded visitors of the difficulties through
which the dead must pass, and honoured Osiris, Isis, and their
son Horus—a trinity whose worship was popular in Ptolemaic times
and often connected with the worship of Serapis. The walls
imitate alabaster &amp;c.; on the vault, geometric designs.</p>

<p class='c034'>The Hall is open to the air. It gives access to two tomb
chambers, each of which has a vestibule for mourners. That
to the right (i) is undecorated, but the scribblings on the vestibule
walls are most amusing; they were made over 2,000 years ago
by a visitor or workman, and help us to reconstruct the life of
the Greco-Egyptian city. The inscriptions are in Greek. On
the left wall Diodorus has immortalised Antiphiles, his friend.
Further on is a sailing ship. Right wall, a battle ship with a
turret for fighting, such as might have accompanied Cleopatra
to Actium.</p>

<p class='c034'>The vestibule in front (ii) is quite charming. It was decorated
in the same style as the staircase—traces of this remain on
the inside of its entrance wall—but soon after a fresh coat of
stucco was applied, and painted like the first to imitate marble,
but in better taste. Below, is a dado of “alabaster” above it an
effective design of black and white squares arranged chess board
fashion and divided by alabaster bands. In the chess board are
mythological scenes, now defaced. The ceiling, being purely
geometric, probably belongs to the earlier scheme.</p>

<p class='c034'>At the end of the vestibule is the entrance to the tomb chamber,
with the disc of the Sun (Ra) carved above it, and,
on either side, little sleeping sphinxes upon pedestals. A door
once closed it; holes for the bolt remain. The tomb chamber
<span class='pageno' id='Page_128'>128</span>itself is decorated in the same pretty style. An altar once stood
in the middle. In the back wall is a tiny shrine, closing the vista.
The general effect is good, but dainty rather than solemn; the
terrors of ancient Egypt are on the wane.</p>
<p class='c047'><span class='sc'>Left hand Tomb group.</span></p>
<p class='c034'>The vestibule in front, as one enters the Hall, is very long,
and low benches on which the mourners sat run up it on each side.
(iii). In the tomb chamber is an enormous sarcophagus of rose
coloured granite from Assouan.</p>

<p class='c034'>The vestibule and tomb chamber to the left (iv) were excavated
and decorated on the usual plan. But in the Roman
period they were much pulled about, and brick work introduced,
together with three new sarcophagi.</p>
<hr class='c048' />
<p class='c012'>There are traces of other tombs over the waste ground,
which covers the cemetery of the ancient Island of Pharos.
We are now in the centre of the Island, and about to
visit its western extremity.</p>

<p class='c012'>Straight ahead, up a rise, is <i>Ras-el-Tin Palace</i>, the
summer residence of the Sultan, who makes his state
entry every June. It was built by Mohammed Ali
(p. <a href='#Page_88'>88</a>), who had here the stormy interview with Sir
Charles Napier, that ended his loftier ambitions (p. <a href='#Page_89'>89</a>);
Ismail restored it; Tewfik was here during some of the
troubles of 1882 (p. <a href='#Page_95'>95</a>). It is not ugly, as palaces go;
the grandiose classical portico is rather impressive. To
the right are the barracks.</p>

<p class='c012'>The peninsula narrows. The road leads on to the
Yacht Club (left), and terminates at the Military Hospital
which is beautifully situated on the rocky point of
Ras-el-Tin (the “Cape of Figs”); splendid views of the
Western Harbour and the sea; a Temple of Neptune
once stood here, and there are ruins of tombs all along
the northern shore. A modern lighthouse stands in the
Hospital enclosure, and marks the entrance to the harbour.
The Breakwater (constructed 1870-74) starts
below, makes towards the isolated rock of Abou Bakr,
then bends to the left. Over the water are the island of
Marabout and the headland of Agame, which are part of
the same limestone chain as Ras-el-Tin, and connected
with it by submarine reefs.</p>

<p class='c012'><span class='pageno' id='Page_129'>129</span>The sea west and north of the point is full of remains
of the Prehistoric Harbour.</p>
<h4 class='c026'>PREHISTORIC HARBOUR.</h4>
<p class='c049'>For details of this important and mysterious work see “Les
Ports submergés de l’ancienne Isle de Pharos” by M. Jondet,
the discoverer. Possibly it may be the harbour alluded to in the
Odyssey (<i>see</i> p. <a href='#Page_6'>6</a>), but no historian mentions it. Theosophists,
with more zeal than probability, have annexed it to the vanished
civilisation of Atlantis; M. Jondet inclines to the theory that it
may be Minoan—built by the maritime power of Crete. If
Egyptian in origin, perhaps the work of Rameses II (B.C. 1300);
statues of his reign have been found on Rhakotis (p. <a href='#Page_7'>7</a>), and we
know that he was attacked by “peoples of the West,” and built
defences against them. It cannot be as late as Alexander the
Great or we should have records. It is the oldest work in the
district and also the most romantic, for to its antiquity is added
the mystery of the sea.</p>

<p class='c034'>Long and narrow, the Harbour stretched from the rock of
Abou Bakr on the west to an eastern barrier that touched the
shore beyond the Tour de la Mission d’Egypt. These two points
are joined up by a series of breakwaters on the north. The
entrance was from an unexpected direction, the south. Having
rounded Abou Bakr, ships turned north under the Ras-el-Tin
promontory, where there is deep water. To their left were
solid quays, stretching to Abou Bakr, and recently utilised in the
foundation of the modern breakwater. To their right was
another quay. Having entered, they were well in the middle
of the main harbour, with a subsidiary harbour to the north.</p>

<p class='c029'>The visit to the Harbour is best made by boat, since
most of the remains now lie from 4 to 25 feet under the
sea. They have, like all the coast line, subsided, because
the Nile deposits on which they stand are apt to compress,
and even to slide towards deeper water. They
are built of limestone blocks from the quarries of Mex
and Dekhela, but the construction, necessarily simple,
gives no hint as to nationality or date. The modern
breakwater, being built across the entrance, makes the
scheme rather difficult to follow. (<i>see</i> Plan p. <a href='#Page_131'>131</a>.).</p>
<div  class='figcenter id001'>
<span class='pageno' id='Page_130'>130</span>
<img src='images/i148.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='large'><span class='sc'>The Prehistoric Harbour</span></span><br /><i>Modern work shown thus</i> .......<br /><i>Ancient work shown thus</i> ________</p>
</div>
</div>

<p class='c012'>The Small Quay (<i>a</i>) is in perfect condition, and not
four feet under water. Length: 70 yards, breadth, 15;
the surface curves slightly towards the south. The
<span class='pageno' id='Page_131'>131</span>blocks, measuring about a yard each, are cut to fit one
another roughly, small stones filling up the joints. The
Ras-el-Tin jetty crosses the end of this Quay; the point
of intersection is near the red hut on the jetty.—At the
north end of the Quay is an extension (<i>b</i>) that protected
the harbour entrance.</p>

<p class='c012'>Further north, well inside the harbour, is an islet (<i>c</i>)
covered with remains. Some are tombs, and of later
date; submerged, are the foundations of a rectangular
building (30 yds. by 15) reached on the south by steps,
and connected by little channels with the sea on the north.
This islet may have contained the harbour offices.</p>

<p class='c012'>From the modern breakwater the Great Quays (<i>d</i>)
show here and there as ochreous lines below the waves.
They are 700 yds. long, and constructed like the Small
Quay, but from larger stones. They connect with the
rock of Abou Bakr (<i>e</i>), the western bastion of the Prehistoric
Harbour; it is a solid mass over 200 yds. square;
most is on the sea level, but a part juts up; it is marked
all over with foundation cuts and the remains of masonry.
West of Abou Bakr is a double breakwater (<i>f</i>) further
protecting the works from the sea and the prevalent wind;
and on it hinges the huge northern breakwater (<i>g</i>) also
double in parts, which runs with interruptions till it
reaches the eastern barrier (<i>h</i>). The rock is named after
the first Caliph of Islam.</p>

<p class='c012'>The outer harbour (<i>i</i>) has not yet been fully explored.</p>
<hr class='c014' />
<p class='c012'>Having returned as far as Ras-el-Tin Palace, we
bear to the left, and follow the tram line along the shore
of Anfouchi Bay. The Bay is very shallow and the
entrance is protected by reefs. Pirates used it once.
Native boat builders work along its beach and are pleasant
to watch. In the corner is Anfouchi Pier, with a bathing
establishment; beyond, on a small promontory, stands
all that is left of Fort Adda; Arabi had his powder
stored here in 1882, and the English blew it up (p. <a href='#Page_94'>94</a>).
Now the tram turns a sharp corner, and a second Fort
swings into view—Fort Kait Bey.</p>
<div>
  <span class='pageno' id='Page_132'>132</span>
  <h4 class='c026'>FORT KAIT BEY (THE “PHAROS”).</h4>
</div>
<p class='c007'>This battered and neglected little peninsula is
perhaps the most interesting spot in Alexandria, for here,
rising to an incredible height, once stood the Pharos
Lighthouse, the wonder of the world. Contrary to
general belief, some fragments of the Pharos still
remain. But before visiting them and the Arab fort in
which they are imbedded, some knowledge of history is
desirable. The fortunes of the peninsula were complicated,
and the labours of scholars have only lately
made them clear.</p>
<p class='c047'>HISTORY.</p>
<p class='c034'>(1). <span class='sc'>The original building</span>. (<i>see</i> also 16).</p>

<p class='c034'>The lighthouse took its name from Pharos Island (hence
the French “phare” and the Italian “faro”). No doubt it
entered into Alexander the Great’s scheme for his maritime
capital, but the work was not done till the reign of Ptolemy
Philadelphus. Probable date of dedication: B.C. 279, when
the king held a festival to commemorate his parents. Architect:
Sostratus, an Asiatic Greek. The sensation it caused was tremendous.
It appealed both to the sense of beauty and to the
taste for science—an appeal typical of the age. Poets and
engineers combined to praise it. Just as the Parthenon had been
identified with Athens and St. Peter’s was to be identified with
Rome, so, to the imagination of contemporaries, the Pharos
became Alexandria and Alexandria became the Pharos. Never,
in the history of architecture, has a secular building been thus
worshipped and taken on a spiritual life of its own. It beaconed
to the imagination, not only to ships at sea, and long after its
light was extinguished memories of it glowed in the minds of men.</p>

<p class='c034'>It stood in a colonnaded court. (Plan II p. <a href='#i152'>135</a>). There
were four stories. (<a href='#i151'>Plan I, Fig. i</a>). The square bottom storey
was pierced with many windows and contained the rooms, estimated
at 300, where the mechanics and attendants were housed.
There was a spiral ascent—probably a double spiral—and in the
centre there may have been hydraulic machinery for raising
fuel to the top; otherwise we must imagine a procession of
donkeys who cease not night and day to go up and down the spirals
with loads of wood on their backs. The storey ended in a square
platform and a cornice and figures of Tritons. Here too, in
great letters of lead, was the Greek inscription; “Sostratus of
Cnidos, son of Dexiphanes: to the Saviour Gods: for sailors”—an
inscription which, despite its simplicity, bore a double
meaning. The “Saviour Gods” are of course Castor and Pollux
who protect mariners, but a courtly observer could refer them to
Ptolemy Soter and Berenice, whose worship their son was promoting.</p>

<div id='i151'  class='figcenter id001'>
<span class='pageno' id='Page_133'>133</span>
<img src='images/i151.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'>Kait Bey Plan I</span><br />Fig I The Pharos as built by Sostratus<br />Fig II The Pharos in the Arab Period<br />Fig III The Castle before 1882</p>
</div>
</div>

<div id='i152'  class='figcenter id001'>
<span class='pageno' id='Page_134'>134</span>
<img src='images/i152.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'>Kait Bey Plan II</span></p>
</div>
</div>
<p class='c028'><span class='pageno' id='Page_135'>135</span>The second storey was octagonal and entirely filled by the
spiral ascent. Above that was the circular third story, and above
that the lantern. The lighting arrangements are uncertain.
Visitors speak of a mysterious “mirror” on the summit, which
was even more wonderful than the building itself. What was
this “mirror”? Was it a polished steel reflector for the fire at
night or for heliography by day? Some accounts describe it as
made of finely wrought glass or transparent stone, and declare
that a man sitting under it could see ships at sea that were
invisible to the naked eye. A telescope? Is it possible that the
great Alexandrian school of mathematics discovered the lens,
and that their discovery was lost and forgotten when the Pharos
fell? It is possible. It is certain that the lighthouse was
fitted with every scientific improvement known to the age, that
the antique world never surpassed it, and that the mediaeval
world regarded it as the work of Jinns.</p>

<p class='c034'>Standing on the lantern was a statue of Poseidon. This
terminated the tower, whose complete height certainly exceeded
400 feet and possibly touched 500.</p>
<p class='c049'><span class='sc'>(2) History of the Building.</span></p>

<p class='c034'>We must now follow this masterpiece of engineering into
ages of myth and oblivion. It retained its form and functions
unimpaired up to the Arab Conquest (A.D. 641). The first,
and irreparable, disaster was the fall of the lantern (about 700),
entailing the loss of scientific apparatus that could not be replaced.
There is a legend that the disaster was planned by the Byzantine
Emperor, who could not attack Egypt owing to the magic
“Mirror,” which detected or destroyed his ships. He sent an
agent who gained the Caliph’s confidence and told him that
beneath the Pharos the treasure of Alexander the Great lay
buried. The Caliph commenced demolition, and before the inhabitants
of Alexandria, who knew better, could intervene, the
two upper stories had fallen into the sea. Henceforth the Pharos
is only a stump with a bonfire on the top.</p>

<p class='c034'>There were restorations under Ibn Touloun (880), and also
about 980, but they were unsubstantial additions to the Octagon
which the wind could blow away. Structural repairs were
neglected, and about 1100 the second disaster occurred—the fall
of the Octagon itself through an earthquake. The square bottom
story survived, but only as a watchtower on the top of which
was run up a small square Mosque. (<i>see</i> <a href='#i151'>Plan I, Fig. ii</a>, which
illustrates this state of the Pharos. The level of the ground has
risen owing to the debris from the octagon, and the lower story has
been buttressed). Then came the final earthquake (14th cent.)
and the slow dissolution was over.</p>

<p class='c043'><span class='pageno' id='Page_136'>136</span>Though unable to preserve the Pharos the Arabs admired
it, and speak, with their love of the marvellous, of a statue on it
whose finger followed the diurnal course of the sun, of a second
statue who gave out with varying and melodious voices the
various hours of the day, and of a third who shouted an alarm as
soon as a hostile flotilla set sail,. The first two statues may have
existed; the Alexandrians loved such toys. And there is an
element of truth in another Arab legend—that the building
rested upon a “glass crab.” Some vitrious composition probably
did form the foundation, and we know that “Cleopatra’s Needle”
actually did rest on crabs of metal (p. <a href='#Page_162'>162</a>); the oriental mind has
confused the two monuments. The legend culminates in the
visit to the Pharos of a cavalcade of horsemen who lose their way
in the 300 rooms, and inadvertently riding into a crack in the
glass crab’s back fall into the sea! But sometimes the lighthouse
sheltered pleasanter adventures. The poet El Deraoui, for
example, writes:</p>

<div class='lg-container-l c050'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line in2'>A lofty platform guides the voyager by night, guides</div>
      <div class='line'>him with its light when the darkness of evening falls.</div>
    </div>
    <div class='group'>
      <div class='line in2'>Thither have I borne a garment of perfect pleasure</div>
      <div class='line'>among my friends, a garment adorned with the memory of</div>
      <div class='line'>beloved companions.</div>
    </div>
    <div class='group'>
      <div class='line in2'>On its height a dome enshadowed me, and thence I saw</div>
      <div class='line'>my friends like stars.</div>
    </div>
    <div class='group'>
      <div class='line in2'>I thought that the sea below me was a cloud, and that</div>
      <div class='line'>I had set up my tent in the midst of the heavens.</div>
    </div>
  </div>
</div>

<p class='c051'>Moreover “El Manarah,” as the Arabs called it, gave the name
to, and became the model for, the “minaret.” There is no
minaret in Alexandria that closely follows the Pharos, but at Cairo
(e.g. at the Tombs of the Mamelukes) one can still see the square
bottom story, the Octagon, the Round and the Summit that
exactly reproduce the four-stage design of Sostratus.</p>
<p class='c052'>(3). <span class='sc'>Fort Kait Bey.</span></p>
<p class='c053'>For a hundred years ruins cumbered the peninsula. Then
(1480) the Mameluke Sultan Kait Bey fortified it as part of his
coast defence against the Turks, who had taken Constantinople
and were threatening Egypt. (p. <a href='#Page_81'>81</a>). Kait Bey is a great
figure at Cairo, where mosques commemorate his glorious reign.
Here he only builds a fort, but like all his work it is architecturally
fine, and even in decay its outlines are harmonious. The scheme
was a pentagon (<a href='#i152'>Plan II</a>) and in the enclosed area, on the exact
site of the Pharos, stood a square castle or keep with a mosque
embedded in it. (<a href='#i151'>Plan I, Fig. iii</a>, which shows the castle before
it was ruined, the minaret sticking up inside it). The Turks
effected their conquest in 1517, and when their power in its turn
declined, Mohammed Ali (1805-1848) modernised the defences.
No visitors were admitted, and the Fort gained the reputation
of an impregnable and mysterious place. Its career ended with
<span class='pageno' id='Page_137'>137</span>the English bombardment of 1882. Though it did not suffer as
much as its neighbour Fort Adda, damage enough was done.
The castle was shattered, the minaret snapped, and the desolation
and squalor re-established that brood there to-day.</p>
<hr class='c048' />
<p class='c045'>We can now examine the existing remains. (<i>See</i>
Plans I &amp; II pp. <a href='#i151'>134</a> &amp; <a href='#i152'>135</a>).</p>

<p class='c045'>The connecting spit of land only formed in the 9th
cent. Previously there was shallow water, spanned by
a bridge. Right, as we approach, is anchorage for an
Italian fishing fleet; the men come from Bari in the
Adriatic.—The road leads by the side of the fort to the
new breakwater, built to protect the Eastern Harbour
and the Sea wall. The Breakwater is a noble work, and
it is a pity it is approached through a gateway that
suggests an English provincial Jail; the embellishments
of modern Alexandria are unduly lugubrious.</p>

<p class='c045'>The blocked up <i>Gateway</i> to the Fort is flanked by
round towers; inside it are several rooms with 15th
cent. vaulting.—To its left, built into the masonry of
Kait Bey’s wall or lying on the beach, are about thirty
<i>broken columns</i> of red Assouan granite; also two or three
pieces of fine speckled granite and one piece of marble.
These are survivals from the Pharos, and may have stood
in the colonnade of its surrounding court; the sea wall
of that court probably diverged here from the line of
Kait Bey’s wall; there are traces of cutting among the
rocks.</p>

<p class='c045'>The interior of the Fort (best entered from the right)
is now a bare enclosure with a few coast-guard huts.
The isolated lump of building at the end is the remains of
Kait Bey’s <i>Castle</i>, occupying the ground plan of the
Pharos and utilising in part its foundations. Some of
these foundations can be seen in the passage immediately
to the right of the Castle. The orientation of the Castle
and the Pharos was not exactly the same, since the Castle
had to be adjusted to the points of the compass on account
of the mosque that it contained.—The modern
buildings to the right of the passage also rest on old
foundations; it is thought that here stood the reservoir,
<span class='pageno' id='Page_138'>138</span>filled with fresh water from the mainland and that on
the other side (left of present Castle) stood another edifice
with the mechanical statues to balance the design. But
this is all conjecture.</p>

<p class='c045'>The <i>Mosque</i> in the Castle is notable for two reasons:
architecturally it is the oldest in the city, and in style it
is essentially Cairene. It was built by the central
government in the course of their coast defence scheme,
and so does not resemble the ordinary mosque of the
Delta. The entrance, with its five monoliths of Assouan
granite, taken from the Pharos, is almost druidical in
effect, but the arch above them and the flanking towers
faintly recall the glories of Kait Bey’s work at Cairo.
In the vestibule are remains of stucco on the ceiling and
marble on the floor.—The actual Mosque is of the
“school” type—a square with an arched recess opening
out of each side, each recess being assigned to one of the
four orthodox sects of Islam; the Mosque of Sultan
Hassan at Cairo is a famous example of this type. The
square, and the step leading up to each recess are inlaid
with marble. Light enters through carved woodwork
above.</p>

<p class='c045'>Over the Mosque are vaulted rooms. From the
summit of the mass is a <i>View</i> of Alexandria, not beautiful
but instructive. From right to left are:—Fort Adda,
Ras-el-Tin lighthouse (background); minarets of Abou el
Abbas and Bouseiri Mosques (foreground); Kom-el-Nadur
Fort; Terbana Mosque (foreground); Pompey’s Pillar
(back); Kom-el-Dik Fort; the long line of Eastern
suburbs; beyond them the distant minaret of Sidi
Bishr; the coast ends in the wooded promontory of
Montazah. Close beneath is the modern Breakwater
stretching towards the opposing promontory of Silsileh;
and left, awash with waves, the Diamond Rock.—And
now let the visitor (if the effort is not beyond him)
elevate himself 400 feet higher into the air. Let him
replace the Ras-el-Tin lighthouse by a Temple to
Poseidon; let him delete the mosques and the ground
they stand on, and imagine in their place an expanse of
<span class='pageno' id='Page_139'>139</span>water crossed by a Dyke; let him add to “Pompey’s
Pillar” the Temple of Serapis and Isis and the vast
buttressed walls of the Library; let him turn Kom-el-Dik
into a gorgeous and fantastic park, with the Tomb of
Alexander at its feet; and the Eastern Suburbs into
gardens; and finally let him suppose that it is not
Silsileh that stretches towards him but the peak of the
Ptolemaic Palace, sheltering to its right the ships of the
royal fleet and flanked on the landward side by the tiers
of the theatre and the groves of the Mouseion.—Then he
may have some conception of what Ancient Alexandria
looked like from the summit of the Pharos—what she
looked like when the Arabs entered in the autumn of 641.</p>

<p class='c045'>Beneath the Batteries on the north of the Fort, and
almost level with the beach, is a long gallery in which
lie some shells that were fired by the English in 1882.</p>
<hr class='c014' />
<p class='c045'>The tram now follows the curve of the <i>Eastern
Harbour</i>, a beautifully shaped basin. It was the main
harbour of the ancients, but Mohammed Ali when he
planned the modern city, developed the Western instead
(p. <a href='#Page_91'>91</a>). There is a sea wall in two stages, to break the
waves which dash right on to the road in rough weather;
and there is a very fine promenade—the New Quays—which
stretches all the way from Kait Bey to Silsileh.
A walk along it can be delightful, though occasionally
marred by bad smells.—We pass, right, the Bouseiri
Mosque (<i>see</i> above) and finally come to the French
Gardens, that connect with the Square, whence we started.</p>

<p class='c045'>Left of the French Gardens are: the French Consulate—an
isolated building; the General Post Office—entered
from the road behind; and the Church of St.
Andrews—Church of Scotland. To the right, down <span lang="fr" xml:lang="fr">Rue
de l’Eglise Maronite</span>, is the Maronite Church, an inoffensive
building; (for the Maronites <i>see</i> pp. 77, 213).</p>
<div>
  <span class='pageno' id='Page_140'>140</span>
  <h3 class='c001'>SECTION III.</h3>
</div>
<hr class='c025' />

<div class='nf-center-c0'>
<div class='nf-center c054'>
    <div><span class='xlarge'>FROM THE SQUARE TO THE SOUTHERN QUARTERS.</span></div>
  </div>
</div>

<p class='c055'><span class='sc'>Route</span>:—By the Place St. Catherine and Pompey’s Pillar
to the Mahmoudieh Canal, taking the Karmous Tram (Green
Lozenge). The Ragheb Pasha Tram (Red Crescent) and the
Moharrem Bey tram (Red Circle) also go from the Square to the
Canal. There is also the “Circular” Tram (Green Triangle)
which crosses the three lines just mentioned, on its course from
Cairo Railway Station to the Docks. There is a carriage road
along the Canal.</p>

<p class='c045'><span class='sc'>Chief points of Interest</span>:—Pompey’s Pillar, Kom es Chogafa
Catacombs, the Canal.</p>

<p class='c045'><span class='pageno' id='Page_141'>141</span>The Southern Quarters are neither smart nor
picturesque. But they include the site of Rhakotis, the
nucleus of ancient Alexandria, and preserve some remarkable
antiquities (<i>see</i> pp. 7, 18). Here too are the
churches and schools of the various religious and political
bodies (<i>see</i> p. <a href='#Page_211'>211</a>).</p>

<p class='c045'><a id='catherine'></a>We start from the south side of the Square, and
immediately reach the <i>Place St. Catherine</i>, a triangular
green. Here is the traditional site of St. Catherine’s
martyrdom, whence she was transported to Mount
Sinai by angels. But the legend only dates from the 9th
cent. and it is unlikely that the saint ever existed (<i>see</i> p. <a href='#Page_46'>46</a>).
Franciscans settled here in the 15th cent. and built a
church that has disappeared. In 1832 Mohammed Ali
granted land to the Roman Catholics, and the present
<i>Cathedral Church of St. Catherine</i> was begun. It fell
down while it was being put up, but undeterred by the
omen the builders persisted, and here is the result.
Gaunt without and tawdry within, the Cathedral makes
no attempt to commemorate the exquisite legend round
which so much that is beautiful has gathered in the West;
St. Catherine of Alexandria is without grace in her own
city. The approach to the church has however a certain
ecclesiastic calm.—Behind (entered from <span lang="fr" xml:lang="fr">Rue Sidi el
Metwalli</span>) is the Catholic Archbishop’s Palace; the wayside
tomb of the Mohammedan Saint Sidi el Metwalli, a
prior arrival, abuts into his Grace’s garden.</p>

<p class='c045'>Left of the Cathedral is another in equally bad taste—the
Cathedral of the Greek Community (Greek Orthodox)
dedicated to the Annunciation. The Schools of the
Community are close to it.</p>

<p class='c045'><span class='pageno' id='Page_142'>142</span>Left, after leaving the Place St. Catherine:—<span lang="fr" xml:lang="fr">Rue
Sidi el Metwalli</span>, following the line of the ancient Canopic
Way; it leads past the <i>Attarine Mosque</i>, which is worth
looking at. In the past, buildings of greater importance
stood on this commanding site. Here was a church to
St. Athanasius, dedicated soon after his death (4th cent.).
In the Arab Conquest (7th cent.) the church was adapted
into a great mosque, square in shape like the Mosque of
Ibn Touloun at Cairo, and stretching some way to the
north of the present building; travellers mistook it for
the tomb or the palace of Alexander the Great. In it stood
an ancient sarcophagus, weighing nearly seven tons. The
English, informed that Alexander had once lain here,
took the sarcophagus away when they occupied Alexandria
in 1801. (<i>see</i> p. <a href='#Page_88'>88</a>). The French protested, and the
sheikhs of the Mosque, deeply moved, came down to the
boat to bid the relic farewell. The sarcophagus is now
in the British Museum, and has proved to belong to the
native Pharaoh Nekht Heru Hebt. B.C. 378.—The
present Mosque is wedge shaped with a minaret at the
point; a good little specimen of modern Mohammedan
architecture. It has a second facade in the <span lang="fr" xml:lang="fr">Rue Attarine</span>,
(Scent Bazaar) whence its name. Inside is the Tomb of
Said Mohammed (13th cent.), a friend of Abou el Abbas
(p. <a href='#Page_126'>126</a>).—Beyond it the road becomes the <span lang="fr" xml:lang="fr">Rue Rosette</span>
(<i>see</i> Section I); right is the American Mission Church
and the Cairo Station.</p>

<p class='c045'>Right after leaving the Place:—district inhabited
by the Armenian community (<i>see</i> p. <a href='#Page_212'>212</a>). Their church
is simple and rather attractive, and has the projecting
western vestibule characteristic of Armenian architecture,
e.g. of the Metropolitan Cathedral of Etchmiadzine. In
the grave yard are monuments of Nubar Pasha by Puech
(<i>see</i> p. <a href='#Page_155'>155</a>), and of Takvor Pasha. In the grounds of
the school, a black basalt sphinx.</p>

<p class='c045'>Straight ahead after leaving the Place: is the
<span lang="fr" xml:lang="fr">Rue Abou el Dardaa</span>. In a turning out of it to the right
(<span lang="fr" xml:lang="fr">Rue Prince Moneim</span>) in the grounds of a florist
named Mousny, are some remains of the <i>Old Protestant
<span class='pageno' id='Page_143'>143</span>Cemetery</i>.—The burials are of a later date than those at
St. Saba (p. <a href='#Page_106'>106</a>). The most interesting is the Tomb of
Henry Salt. Salt, a vigorous but rather shady Englishman
with an artistic temperament, first came to these
parts in 1809, when he was sent on a mission to Abyssinia.
Six years later he became Consul General and fell in with
the financial plans of Mohammed Ali (p. <a href='#Page_90'>90</a>), and acquiesced
in his illegal monopolies. He was an ardent
archaeologist of the commercial type and got concessions
for excavating in Upper Egypt, offering the results, at
exorbitant rates, to the British Museum. After much
haggling the Museum bought his collection in 1823. He
died near Alexandria in 1827. The quaint inscription
on his tomb says:—</p>

<p class='c043'>His ready genius explored and elucidated the Hieroglypics
(sic) and other antiquities of this country. His
faithful and rapid pencil and the nervous originality of his
untutored senses conveyed to the world vivid ideas of the
scenes that had delighted himself.</p>

<p class='c056'>Some of the tombs are hidden among plants and ferns.
The Cemetery was once much larger; the road has cut
through it.</p>

<p class='c045'>At the end of the <span lang="fr" xml:lang="fr">Rue Abou el Dardaa</span>, where the
tram turns, is the <i>Mosque of Amr</i>. Here probably stood
the Mosque of Mercy which the conqueror Amr ordered
to be built where he had sheathed his sword after the
recapture of the city in 643 (<i>see</i> p. <a href='#Page_57'>57</a>).</p>

<p class='c045'>We turn right for a few yards, along a road that
follows the line of the vanished Arab Walls (p. <a href='#Page_81'>81</a>).
Then to the left by the big Italian schools. The tram has
now entered the ancient district of Rhakotis.</p>
<h4 class='c026'>“POMPEY’S PILLAR” and the TEMPLE OF SERAPIS.</h4>

<div  class='figcenter id001'>
<img src='images/i162.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'>Pompey’s Pillar etc.</span></p>
</div>
</div>

<p class='c056'>As often happens in Alexandria, history and archaeology
fail to support one another. Ancient writers do
not mention “Pompey’s Pillar,” but they tell us a great
<span class='pageno' id='Page_144'>144</span>deal about the buildings that stood in its neighbourhood
and have now disappeared. This shapeless hill was from
early times covered with temples and houses. Long
before Alexander came it was the citadel of Rhakotis
(p. <a href='#Page_7'>7</a>). Osiris was worshipped here. Then with Ptolemy
Soter it leaps into fame. Osiris is modified into Serapis
(p. <a href='#Page_18'>18</a>), and the hill, encased in great bastions of masonry
was built up into an acropolis on whose summit rose the
God’s temple. Under Cleopatra it gained additional
splendour. The great library of Alexandria had been
burnt in the Caesarian war, and the queen began a new
collection which she attached to the Serapeum. Here
for four hundred years was the most learned spot on the
earth. The Christians wiped it out. In 391 the Patriarch
Theophilus (p. <a href='#Page_50'>50</a>) led a mob against the temple, sacked
it, and broke the statue of the God. It is impossible that
the books should not have perished at the same time:
they were arranged in the cloisters that surrounded the
temple (<i>see</i> below) so that the mob had to pass them to
reach its central prey. The monks now swarmed over the
hill and built a church to St. John the Baptist in the
gutted shrine. Here were the head quarters of Theophilus’
nephew, Cyril (p. <a href='#Page_51'>51</a>) and hence his supporters issued to
murder Hypatia at the other end of the town (415).
With the invasion of the Arabs the darkness increases.
The library had already disappeared (the legend accusing
them of burning it has the flimsiest foundations), but
they did plenty of harm in other ways: one of the Arab
governors threw a quantity of columns into the sea in the
hope of obstructing a hostile fleet. When the Crusaders
visited Egypt (15th cent.) the original scheme of the
Acropolis had vanished, and their attention was caught
by this solitary pillar. The Crusaders were no scholars
but they had heard of Pompey, so they called the pillar
after him, and said that his head was enclosed in a ball
on the top. (<i>see</i> Belon’s View p. <a href='#Page_83'>83</a>). The error has been
perpetuated and the visitor must remember, firstly that
the pillar has nothing to do with Pompey and secondly
that it is a subordinate monument that the accident of
<span class='pageno' id='Page_145'>145</span>time has preserved: it is a part and a small one of the
splendours of the Temple of Serapis.</p>

<p class='c045'>The following remains can be visited (<i>see</i> Plan 144).</p>

<p class='c045'>(i). <i>“Pompey’s Pillar.”</i> 84 feet high and about 7
thick; made of red granite from Assouan. An imposing
but ungraceful object. Architecture has evolved nothing
more absurd than the monumental column; there is no
reason that it should ever stop nor much that it should
begin, and this specimen is not even well proportioned.
The substructure is interesting. It is made up of blocks
that have been taken from older buildings. On the
eastern face (nearest turnstile) is a block of green granite
with an inscription in Greek in honour of Arsinoe, the
sister and wife of Ptolemy Philadelphus (p. <a href='#Page_14'>14</a>). On the
opposite face (upside down in a recess) is the figure and
hieroglyph of Seti I (B.C. 1350), suggesting the great age
of the settlement on Rhakotis.</p>

<p class='c045'>Why and when was the pillar put up?</p>

<p class='c045'>Probably to the Emperor Diocletian, about A.D. 297.
There is a four line Greek inscription to him on the granite
base on the western side, about 10 feet up. It is illegible
and indeed invisible from the ground. Generations of
scholars have worked at it with the following result:—</p>

<p class='c043'>“To the most just Emperor, the tutelary God of Alexandria,
Diocletian the invincible: Postumus, prefect of Egypt.”</p>

<p class='c056'>The formidable Emperor (p. <a href='#Page_46'>46</a>) had crushed a
rebellion here and was a god to be propitiated; the
pillar, erected in the precincts of Serapis, would celebrate
his power and clemency and presumably bore his statue
on the top.—There is another theory: that the column
was dedicated after the triumph of the Christians in 391
and glorifies the new religion; if this is so it must itself
have previously been pagan, for by this date the Alexandrians
had not the means or the power to erect a new
monument of such a size.</p>

<p class='c045'>(ii). <i>The Temple of Serapis.</i> West of the Pillar,
reached by a staircase, are long subterranean galleries,
excavated in the rock and lined with limestone. These
<span class='pageno' id='Page_146'>146</span>were probably part of the Serapeum—basements of some
sort—and enthusiastic visitors have even identified them
with the library where the books were kept; in them
are some small semi-circular niches of unknown use.
Some marble columns stand on the ground above.—South
of the Pillar, near the Sphinxes, are more passages,
lined with cement; these too may have been part of
the temple. All is conjectural, and the plan of the
Serapeum, as we gather it from classical writers, can in
no way be fitted in with existing remains. According to
them, it was rectangular, and stood in the middle of a
cloister, with each of whose sides it was connected by
a cross-colonnade. The temple consisted of a great hall
and an inner shrine. The architecture was probably
Greek; certainly the statue was—made of blue-black
marble (p. <a href='#Page_19'>19</a>), the work of Bryaxis.</p>

<p class='c045'>(iii). <i>The Temple of Isis.</i> Isis, wife of Osiris, was
equally united to his successor Serapis, and had in Ptolemaic
times her temple on the plateau. North of the
Pillar are some excavations that have been identified
with it.</p>

<p class='c045'>(iv). <i>Two Sphinxes.</i> Found in the enclosure and set
up south of the Pillar. Of Assouan granite.</p>

<p class='c045'>(v). <i>Fragments of a Frieze.</i> These, magnificently
worked in granite, lie on the slope east of the Pillar; we
pass them on the way up. Date:—about 1st cent. A.D.
They may have belonged to the great entrance gate of the
temple enclosure. He who meditates on them for a little
may recapture some idea of the shrine. Note the Pillar
itself so suggests vanished glory and solidity.</p>

<p class='c045'>This concludes the remains. They are disappointing
for so famous a site, but there is one satisfaction: this
is the actual spot. Long in doubt, it has been identified
by the statues and inscriptions that have been found here;
they are now in the Museum; <i>see</i> Rooms 6, 12, and 16.</p>
<hr class='c014' />
<p class='c045'>Just beyond the enclosure of Pompey’s Pillar we
leave the tram route and turn to the right, reaching in
ten minutes the Kom es Chogafa Catacombs.</p>
<div>
  <span class='pageno' id='Page_147'>147</span>
  <h4 class='c035'>CATACOMBS OF KOM ES CHOGAFA.</h4>
</div>
<p class='c057'>Through the turnstile (5 piastres) is modern asphalt
laid down to preserve the subterraneans from wet. Left,
four fine sarcophagi of purplish granite. Above, the
original level of the hill, which has been cut down by
quarrying and excavations; in its slopes are some cemented
passages, antique but uninteresting. On the top
of the hill, a mosaic of black and white stones, much
broken away. The entrance to the catacombs is down
the larger of the two glassed well-shafts.</p>

<p class='c045'>The Catacombs of Kom es Chogafa (“Hill of Tiles”)
are the most important in the city and unique anywhere:
nothing quite like them has been discovered. They are
unique both for their plan and for their decorations
which so curiously blend classical and Egyptian designs;
only in Alexandria could such a blend occur. Their size,
their picturesque vistas, their eerie sculptures, are most
impressive, especially on a first visit. Afterwards their
spell fades for they are odd rather than beautiful, and
they express religiosity rather than religion. Date—about
the 2nd cent., A.D. when the old faiths began to
merge and melt. Name of occupants—unknown. There
is a theory that they began as a family vault which was
developed by a burial syndicate. They were only discovered
in 1900.</p>

<p class='c045'>The scheme should be grasped before descending;
there are three stories, the lowest is under water. (<i>See</i>
Plan p. <a href='#i168'>148</a>).</p>
<div id='i168'  class='figcenter id005'>
<span class='pageno' id='Page_148'>148</span>
<img src='images/i168.jpg' alt='' class='ig001' />
<div class='ic004'>
<p><span class='sc'>Kom es Chogafa - Plan of Chief Chambers</span><br />&nbsp;&nbsp;<span class='small'>First Story  .............<br />&nbsp;&nbsp;Second Story _________<br /><br />A Well Staircase<br />B Vestibule<br />C Rotunda<br />D Banquet Hall<br />E Staircase<br />F Vestibule<br />G i ii iii Central Tomb<br />H Passage<br />I Tomb Chamber<br />J Gallery<br />K Square Well<br />L Hall of Caracalla<br />M Gallery of Painted Tomb</span></p>
</div>
</div>

<p class='c045'>The Staircase (A) is lit from a well, down which the dead
bodies were lowered by ropes.—It ends at the Vestibule (B).
Here are two semi-circular niches, each fitted with a bench and
elegantly vaulted with a shell—a classical motive unknown to
the art of ancient Egypt. Close by is the Rotunda (C): in its
centre is a well, upon whose parapet stand 8 pillars, supporting
a domed roof. A circular passage runs round the well.—Left
from the Rotunda is the Banquet Hall (D), where the friends and
relatives ate ceremonially in memory of the dead. It is a gloomy
scene. Here, cut out of the limestone, are the three couches
where they reclined upon mattresses; the table in the middle
<span class='pageno' id='Page_150'>150</span>has disappeared; it was probably of wood. Pillars support the
roof.—From the Rotunda a Staircase (E) goes down to the
second story; the amazing Central Tomb is now revealed; weird
effects can be got by adjusting the electric lights. The Staircase
is roofed by a shell ornament; half-way down, it divides on each
side a thing that looks like a prompter’s box; this masks yet
another staircase that descends to the third story, now under
water.</p>
<p class='c058'>THE CENTRAL TOMB.</p>
<p class='c056'>In the Vestibule (F) the Egyptian note predominates. In
front, two fine columns with ornate capitals and two pilaster
with square papyrus capitals—the four supporting a cornice
adorned with the winged Sun (Ra), and guardian falcons. Inside
the Vestibule, to right and left, are white limestone statues of a
man and woman—the proprietor and his wife, perhaps. On the
further wall the religious and artistic confusion increases. Two
terrific bearded serpents guard the entrance to the Tomb Chamber,
and each not only enfolds the pine-cone of Dionysus and the serpent-wand
of Hermes, but also wears the double crown of Upper
and Lower Egypt. Above each serpent is a Medusa in a round
shield. Over the lintel of the inner door is the winged Sun and
a frieze of snakes.</p>

<p class='c045'>The Tomb Chamber (G) contains three large sarcophagi, all
cut out of the rock. They are classical in style—decorated with
festoons of fruit or flowers, Medusa Heads, Ox skulls, &amp;c. The
lids do not take off; the mummies would have been pushed in
from the passage behind (<i>see</i> below). But as a matter of fact
none of three sarcophagi have ever been occupied; it is part of
the queerness of Kom es Chogafa that its vast and elaborate
apparatus for mourning should culminate in a void.</p>

<p class='c045'>In the niche over each sarcophagus are bas reliefs, Egyptian
in style but executed with imperfect understanding.</p>

<p class='c045'>Centre niche (G.i). A mummy on a lion shaped bier: the
lion wears the crown of Osiris and has at its feet the feather of
Maat, goddess of truth. Behind the bier, Anubis as the god of
embalming; at its head Thoth with the symbol of immortality;
at its foot, Horus; beneath it three “Canopic” deities—vases
for the intestines—there ought to be four.—Lateral relief: Left,
a man with a priest, right a woman with a priest.</p>

<p class='c045'>Right-hand niche (G.ii). Graceful design of a prince, who
wears the double crown of Egypt, offering a collar to the
Apis Bull, who, with the Sun between his horns stands on a
pedestal. Behind Apis, Isis, holding the feather of truth and
stretching out her protective wings with good decorative effect.—Lateral
reliefs: Left, a king before a god (Chons?); right, two
“Canopic” deities, one ape headed, one a mummy.</p>

<p class='c045'><span class='pageno' id='Page_151'>151</span>Left-hand niche (G.iii).—Similar to right hand, except that
on the right lateral wall one of the “Canopic” deities has the
head of a hawk.</p>

<p class='c045'>On either side of the entrance door stands an uncanny figure.
Right, (as one goes out) is Anubis, with a dog’s head, but dressed
up as a Roman soldier, with cuirass short sword lance and shield
complete. Left, the god Sebek, who though mainly a crocodile
is also crushed into military costume with cloak and spear.
Perhaps the queer couple were meant to guard the tomb, but one
must not read too much into them or into anything here; the
workmen employed were only concerned to turn out a room that
should look suitable for death, and judged by this standard they
have succeeded.</p>

<p class='c045'>Surrounding the central tomb is a broad Passage (HHH)
lined with cavities in two rows that provided accommodation for
nearly 300 mummies. Where the passage passes behind the
central tomb one can see the apertures through which the three
grand sarcophagi were hollowed out, and through which the
mummies would have been introduced. Leading out of this
passage is another tomb chamber (I) and, to the left, a big
Gallery (JJJJ), fitted up with receptacles in the usual style.</p>
<hr class='c014' />
<p class='c045'>All the above chambers form part of a single scheme. We
now return to the Rotunda (C), and enter, through a breach in
the rock, an entirely distinct set of tombs. They are lighted by
a square Well (K) and were reached by a separate staircase now
ruinous. The Hall (L) is fancifully called the Hall of Caracalla
because that emperor massacred many Alexandrian youths whom
he had summoned to a review, and because many bones of men and
horses have been found intermingled on its floors; it is lined with
tomb cavities on the usual plan.—The Gallery (M) contains rather
a charming tomb: it was once covered with white stucco and delicately
painted. In the niche above the sarcophagus are Isis and
her sister Nephtys, spreading their wings over the mummy of
Osiris. More figures on the lateral walls. Above, on the inner
wall, the soul as a bird. Above the entrance, the Sun and golden
Vase on either side of which is a sphinx with her paw on a wheel.</p>

<p class='c045'>We now ascend the staircase (A). View of Mariout. Those
who are not tired of empty tombs will find plenty more to the
right, down a stairway cut in the rock.</p>

<p class='c029'><a id='mahmoudieh'></a>Immediately below Kom es Chogafa flows the
<i>Mahmoudieh Canal</i>, made by Mohammed Ali (for the
circumstances <i>see</i> p. <a href='#Page_91'>91</a>). There is a road along it which
leads, right, into the region of cotton warehouses. (Section
VI).—To the left one can walk or drive all the way
to Nouzha (Section IV). The route is partly pleasant
<span class='pageno' id='Page_152'>152</span>partly not. It crosses, at Moharrem Bey, the Farkha
Canal, which leaves the Mahmoudieh Canal at right
angles and which went all the way to the sea.—Further
on, there is a shady tract called the “Champs Elysées”
it resembles, neither for good or evil, its Parisian original.</p>
<div class='pbb'>
 <hr class='pb c000' />
</div>
<div>
  <span class='pageno' id='Page_153'>153</span>
  <h3 class='c001'>SECTION IV.</h3>
</div>
<hr class='c025' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>FROM THE SQUARE TO NOUZHA.</div>
  </div>
</div>

<p class='c007'><span class='sc'>Route</span>:—Take Nouzha Tram (green trefoil) at the lower
end of the Boulevard Ramleh, just off the Square. The Rond
Point Tram (white star) passes through the Square, but does not
go further than the Water Works—about half-way to Nouzha.</p>

<p class='c012'><span class='sc'>Chief Points of Interest</span>:—Municipal Gardens; Nouzha
and Antoniadis Gardens.</p>
<p class='c029'><span class='pageno' id='Page_154'>154</span>For the Boulevard Ramleh <i>see</i> Section V. Having
traversed it, the tram bears to the right and passes
the Alhambra Theatre, the only one in the town—not a
bad building.—Just beyond the Theatre a road leads
left, to the Cathedral of the <i>Coptic Catholic Patriarchate</i>,
(p. <a href='#Page_212'>212</a>) or Church of the Resurrection. The building
is not remarkable, but of interest to all who would
explore the ecclesiastical ramifications of Alexandria.
It was dedicated in 1902 by the Patriarch Cyril II and
endowed by the Emperor Francis Joseph of Austria, as
an inscription by the entrance (shortly to be removed)
states; the alternative date—1618—reckons by the
Coptic Calendar, which begins not with the birth of
Christ but with the persecutions of the 3rd cent.
(p. <a href='#Page_47'>47</a>). The facade of the church imitates that of St.
John Lateran, Rome. Beyond the church are the British
Consulate and the Egyptian Government Hospital
(Section V).</p>

<p class='c012'>The Tram turns left, along the <span lang="fr" xml:lang="fr">Rue Sultan Hussein</span>,
still popularly known as the <span lang="fr" xml:lang="fr">Rue d’Allemagne</span>, and passes
between the Menasce Schools (Jewish) and Cromer Park,
a small fenced garden reserved for ladies and babies.—<i>Place
Said</i>, a round space in the midst of which is a large
Ptolemaic Column, erected in memory of the retaking
of Khartoum, Sept. 2nd, 1898; on each side of the column,
statues of the lion-headed goddess, Sekhet. The
native women who sometimes sit in masses in the Place
are professional mourners and await a funeral out of the
Egyptian Government Hospital behind. Roads go from
the Place: left, to Mazarita Station on the Ramleh tram
line (Section V); right, to the <span lang="fr" xml:lang="fr">Rue Rosette</span>. (Section I).</p>

<p class='c012'><a id='municipal'></a>Left, the <i>Municipal Gardens</i>, small but admirably
planned; the designer, M. Monfront, has shown real
genius in his treatment of the area. The gardens follow
<span class='pageno' id='Page_155'>155</span>the line of the Arab Walls (p. <a href='#Page_81'>81</a>) and also cross the course
of the old Farkha Canal that once connected the Mahmoudieh
Canal and the sea (p. <a href='#Page_152'>152</a>). Both these features
have been utilised; the fortifications have turned into
picturesque hillocks or survive as masses of masonry,
which, though of little merit in themselves, have been
cleverly grouped and look mediaeval by moonlight;
while the water of the canal has been preserved in an
artificial pool, the abode of ducks. The gardens should
be thoroughly explored. In them—visible from tram—is
a <i>Statue of Nubar Pasha</i>, by Puech; the tarboosh is
too large but the general effect dignified; the left hand
rests on a tablet inscribed “La justice est la base de tout
Gouvernment,” and the same maxim appears on the
pedestal. Nubar was an Armenian—a politician whose
honesty is variously estimated, though there is no question
as to his ability. He became minister under the
Khedive Ismail (1878) and tried to regulate his finance,
also serving under Tewfik. He was, as his favourite
motto suggests, cautious in temperament. He is buried
outside the Armenian Church, (p. <a href='#Page_143'>143</a>).</p>

<p class='c012'>The tram touches the end of the <span lang="fr" xml:lang="fr">Rue Rosette</span>
(Section I) and passes through the belt of the gardens:
they continue on the right, still following the course of the
vanished Arab walls and utilising the acclivities, and are
to be continued still further, as far as the railway station;
they will then form a great horseshoe.—Left are the
Roman Catholic Cemeteries, and in the second of these,
at the end of the main walk, is a fine <i>Antique Tomb</i>,
which should be seen. It lies in a hole; great walls of
alabaster have fallen and exposed their shining surfaces.
The shrine (Heroon) of Pompey stood near here, and it
has been suggested that this was the actual place where
his head was deposited after his murderers had brought
it to Julius Caesar; this is pure conjecture, but the tomb
may well date from the period (B.C. 48) for the work is
very good.—To the right, in the new part of the cemetery
are other ancient tombs, also a cemented shaft with foot
holds cut on its interior.</p>

<p class='c012'><span class='pageno' id='Page_156'>156</span><a id='french'></a>Almost opposite the entrance to the Cemetery is the
War Memorial to French Soldiers, a truncated obelisk
of Carrara marble, designed as a labour of love in memory
of his fallen comrades by Mons. V. Erlanger, the French
architect of Alexandria and unveiled April 23, 1921 by
Lord Allenby.</p>

<p class='c012'>The scroll facing the main thoroughfare bears the
following inscription:</p>

<p class='c028'>“In memory of French Soldiers fallen during the Great
War and offered by members of the British Community to the
French Colony to Commemorate the glorious deeds of arms,
performed by the French Armies 1914-1918.”</p>

<p class='c029'>Now the tram turns, right, by the Rosetta Gate
Police Station, surmounted by a turret clock in commemoration
of King Edward VII, and comes to the
Rond Point, where are the Waterworks, and up the rise
Hadra Prison; then crosses the railway, the ancient
Hadra cemetery (<i>see</i> Museum Room 19) and Hadra village,
and reaches its terminus at Nouzha, close to Nouzha
railway station and to the Mahmoudieh Canal.</p>
<hr class='c014' />
<p class='c012'><a id='nouzha'></a><i>Nouzha</i> was in Ptolemaic times the suburb of
Eleusis. Here lived Callimachus the poet (p. <a href='#Page_30'>30</a>); here
(B.C. 168) Popillius the Roman general checked the King
of Syria who was about to seize Alexandria, and, drawing
a circle round him in the sand, obliged him to decide
forthwith between peace and war. Here (A.D. 640),
were quartered the cavalry of Amr (p. <a href='#Page_55'>55</a>), before he
entered the town.—The Gardens are across the railway.
They have been developed by the Municipality out of
a small park of Ismail’s, and are most beautiful; if one
could judge Alexandria by her gardens one would do
nothing but praise. Some are formalised, others free; those
who like pelicans will find them in a pond to the right;
the zoological garden, a bandstand, and a restaurant,
are straight ahead; view from over the top over Lake Hadra
towards Abou el Nawatir (Section V).—Right of the
bandstand is an enclosure entered by payment; this too
<span class='pageno' id='Page_157'>157</span>should be visited as the trees and flowers are fine;
glasshouses also.</p>

<p class='c012'>Above the pelican pond a small gate leads from the
Nouzha Gardens into the <i>Antoniadis Gardens</i> (entrance
charge; varying according to the day of week). These
too belong to the Municipality of Alexandria. They are
full of modern statues, which, though of no merit, make
a pleasant formal effect. The trees and creepers are fine,
and there is a beautiful lawn at the back of the house.
Here, until recently, lived the Antoniadis family, wealthy
Greeks.</p>

<p class='c012'>In the field behind the Antoniadis Gardens is an
antique <i>Tomb</i>. It is easiest reached through the back
gate, which a gardener will sometimes unlock; otherwise
one must return to the Nouzha Gardens, pass out, and
follow the canal for a little way, finally turning to the
left. The tomb is behind an absurd spiral of rockwork.
It is reached down a flight of steps and the hall is often
under water. Same plan as at Anfouchi (p. <a href='#Page_126'>126</a>); a
sunken hall, out of which three tomb chambers open.</p>

<p class='c012'>The road beyond the Gardens, along the edge of the
Canal, is pretty, and probably follows the course of the
ancient Canal to Canopus, whither the Alexandrians
used to go out in barges, to enjoy themselves and to
worship Serapis. In one place it skirts the waters of
Hadra.</p>

<p class='c012'>The other way (west) the Canal flows into the city
(Section II) finally entering the Harbour.—(For history
of the Canal <i>see</i> p. <a href='#Page_91'>91</a>).</p>

<p class='c012'>There is a road direct from Nouzha to Sidi Gaber
(Section V) by the side of the lake. It passes, left, the
place where two colossal statues were discovered: Antony
as Osiris, and Cleopatra as Isis: Antony is in the Museum
(Garden Court, p. <a href='#Page_120'>120</a>).</p>
<div class='pbb'>
 <hr class='pb c000' />
</div>
<div>
  <span class='pageno' id='Page_159'>159</span>
  <h3 class='c001'>SECTION V.</h3>
</div>
<hr class='c025' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div><span class='large'>FROM THE SQUARE TO RAMLEH.</span></div>
  </div>
</div>

<p class='c007'><span class='sc'>Route</span>:—By the Boulevard Ramleh to the Tram Line
terminus—10 min. walk. Then take tram with red label to
Bulkeley, San Stefano, and Victoria. Tram with blue label goes
to San Stefano only, <i>via</i> Bacos. The service is fair.</p>

<p class='c012'><span class='sc'>Chief points of Interest</span>:—The Sea; the view from
Abou el Nawatir; private gardens; the Spouting Rocks.</p>
<p class='c007'><span class='pageno' id='Page_160'>160</span>We start at the north-east corner of the Square, and
take the <span lang="fr" xml:lang="fr">Rue de l’Ancienne Bourse</span>, in which are, right, the
Union Club frequented by British, and, left, the former
Bourse—the latter not a bad building, with a portico of
marble columns and a vaulted interior; it is now the
offices of the Lloyd Triestino. The street leads into the
Boulevard Ramleh—turn to right.</p>

<p class='c012'>The Boulevard (officially <span lang="fr" xml:lang="fr">Rue de la Gare de Ramleh</span>)
is a busy shabby thoroughfare, full of people who are
escaping to or from the tram terminus.</p>

<p class='c012'>Right from Boulevard, in <span lang="fr" xml:lang="fr">Rue Debbane</span>, is a Greek
and Syrian Catholic Church, dedicated to St. Peter.
(p. <a href='#Page_213'>213</a>). It was built by Count Debbane, a Syrian
under Brazilian protection who received his title from
the Pope. His family vault extends along the whole
length of the Chancel. The scene is of no interest, but
typical of the complexities of religion and race at Alexandria.</p>

<p class='c012'>Left from Boulevard, at end of <span lang="fr" xml:lang="fr">Rue Averoff</span>, is the
church of the Armenian Catholics (p. <a href='#Page_213'>213</a>).</p>

<p class='c012'>Right from Boulevard, in <span lang="fr" xml:lang="fr">Rue de l’Eglise Copte</span>, is
the <i>Cathedral of the Coptic Orthodox Patriarchate</i> (p. <a href='#Page_212'>212</a>)
dedicated to St. Mark. Those who have never seen a
Coptic Church should look in. It is fatuously ugly. On
the screen that divides nave from sanctuary are several
pictures—among them St. Damiana with her wheel; she
is the native Egyptian Saint who was probably the origin
of St. Catherine of Alexandria: round her are the forty
maidens who shared her martyrdom. In the sanctuary
are some pictures of St. Mark, whose primitive church
is wrongly supposed to have stood on this site (p. <a href='#Page_46'>46</a>);
he is shown writing his Gospel or standing between
Cleopatra’s Needle and Pompey’s Pillar. Outside the
<span class='pageno' id='Page_161'>161</span>Church are the Schools, ineptly adorned with a Lion of
St. Mark of the Venetian type.</p>

<p class='c012'>Right from Boulevard, the <span lang="fr" xml:lang="fr">Rue Nebi Daniel</span> leads
past the chief Jewish Synagogue to the <span lang="fr" xml:lang="fr">Rue Rosette</span>
(Section I).</p>

<p class='c012'>The Boulevard reaches the tram terminus. To the
right is the road to Nouzha (Section IV), to the left the
sea and the New Quays (Section II).</p>
<hr class='c014' />
<p class='c012'><a id='caesareum'></a>On this featureless spot once arose a stupendous
temple, the Caesareum, and a pair of obelisks, <i>Cleopatra’s
Needles</i>.</p>

<p class='c028'>(i). <span class='sc'>History of the Caesareum.</span>—Cleopatra began it in
honour of Antony (p. <a href='#Page_26'>26</a>). After their suicide Octavian finished
it in honour of himself. (B.C. 13). He was worshipped there as
Caesar Augustus, and the temple remained an imperial possession
until Christian times. Constantius II (A.D. 354) intended to
present it to the Church, but before the transference could be
effected St. Athanasius, who was always energetic, had held an
Easter Service inside it. The Emperor was offended. Two years
later his troops nearly killed Athanasius inside the building, and
gave it to the Arians. Arians and Orthodox continued to fight
for and in it and smashed it to pieces. (p. <a href='#Page_49'>49</a>). Athanasius, just
back from his final exile, built on the ruins a church which was
dedicated to St. Michael but usually retained the famous title
Caesareum. It became the Cathedral of Alexandria, superseding
St. Theonas (p. <a href='#Page_189'>189</a>). Here in 416 Hypatia was torn to pieces by
tiles (p. <a href='#Page_51'>51</a>). Here in 640 the Patriarch Cyrus held a solemn
service before betraying the city to the Arabs (p. <a href='#Page_55'>55</a>). Date of
final destruction—912.</p>

<p class='c034'>(ii). <span class='sc'>Appearance.</span> Nothing is known of the architecture
of the temple, but the Jewish philosopher Philo (p. <a href='#Page_63'>63</a>) thus
writes of it in the day of its glory:</p>

<p class='c043'>“It is a piece incomparably above all others. It stands
by a most commodious harbour: wonderful high and large
in proportion; an eminent sea-mark: full of choice paintings
and statues with donatives and oblatives in abundance; and
then it is beautiful all over with gold and silver; the model
curious and regular in the disposition of the parts, as galleries,
libraries, porches, courts, halls, walks, and consecrated
groves, as glorious as expense and art could make them, and
everything in the proper place; besides that, the hope and
comfort of seafaring men, either coming in or going out.”</p>
<p class='c028'>(iii). <span class='sc'>The Obelisks.</span> In front of the Caesareum (between
present tram terminus and sea) stood “Cleopatra’s Needles” of
which one is now in the Central Park, New York, and the other
<span class='pageno' id='Page_162'>162</span>on the Embankment, London, They had nothing to do with
Cleopatra till after her death. They were cut in the granite
quarries of Assouan for Thothmes III (B.C. 1500), and set up by
him at Heliopolis near Cairo, before the temple of the Rising Sun.
In B.C. 13 they were transferred here by the engineer Pontius.
They rested not directly on their bases but each on four huge
metal crabs, one of which has been recovered. Statues of Hermes
or of Victory tipped them. In the Arab period, when all around
decayed, they became the chief marvel of the city. One fell.
They remained in situ until the 19th cent., when they were
parted and took their last journey, the fallen one to England in
1877, the other to the United States two years later.</p>

<p class='c029'>The walls of the Arab city used to reach the sea at
this point (cf. Belon’s View, p. <a href='#Page_83'>83</a>).; they ended in a
tower that was swept away for the New Quays. We now
take the tram.</p>
<hr class='c014' />
<p class='c012'>The first half mile of the tram lines traverses ground
of immense historical fame. Every inch was once sacred
or royal. On the football fields to the left were the
Ptolemaic Palaces (p. <a href='#Page_17'>17</a>) stretching down to the sea
and projecting into it at the Promontory of Lochias
(present Silsileh). There was also an island palace on a
rock that has disappeared. The walls of the Mouseion,
too, are said to have extended into the area, but we
know no details and can only be certain that the Ancient
World never surpassed the splendour of the scene. On
the right, from the higher ground, the Theatre overlooked
it, and the dramas of Aeschylus and Euripides
could be performed against the background of a newer
and a greater Greece. No eye will see that achievement
again, no mind can imagine it. Grit and gravel have
taken its place to-day.</p>

<p class='c012'>Right of the line on leaving:—The British Consulate,
an imposing pile. Next to it, the <i>Egyptian Government
Hospital</i> probably on the site of the Ancient
Theatre, so a visit should be made. In the garden is
the tomb of Dr. Schiess a former Director; an early
Christian sarcophagus has been used, and on each side
of it are impressive Christian columns, probably from the
<span class='pageno' id='Page_163'>163</span>church of St. Theonas (p. <a href='#Page_46'>46</a>) and each carved with a
cross in a little shrine. In the spiral ascent above the
tomb are other antiquities and a howitzer of Arabi’s: on
the summit, an antique marble column, erected in
memory of Queen Victoria’s Jubilee.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Mazarita Sta.</span>—A road leads, right, to the Public
Gardens (Section IV) and, left, to the Promontory of
Silsileh (see above). The promontory, like the rest of
the coast, has subsided; in classical times it was broader
and longer than now, and extended in breakwaters towards
the Pharos (Fort Kait Bey), thus almost closing
the entrance to the Eastern Harbour. The private port
of the Ptolemies lay immediately to its left. A beacon,
the Pharillon, was at its point in Arab times. The
original Church of St. Mark, where the evangelist was
buried, must have stood on the shore to its right. There
is nothing to see to-day except a coast-guard station and
the exit of the main drain.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Chatby Sta.</span>—The tram has now pierced the ancient
royal city and enters the region of the dead, where owing
to the dryness of the ground the cemeteries both ancient
and modern have been dug. Right, the modern cemeteries,
Jewish nearest the tram line, behind them
English, then Greek and Armenian, then Catholic, opening
into the Aboukir road (Section I). Close to the sta. are
the spacious schools of the Greek Community, and the
Orwa el Woska schools. Left of the station, is the
Sultanian Institute of Hydrobiology, containing a small
but interesting aquarium and an extensive and valuable
technical library, also models of fishing craft, nets and
marine instruments. Visit by arrangement with the
Director, Prof. Pachundaki. In the enclosure in front
of the Institute some ancient Mosaics have been recently
(1921) discovered; they are said to be of fine period and
in good condition, but are not on exhibition yet; it is
to be hoped that they will be accessible shortly. Traces
of ancient roads and drains have also been found here.</p>
<hr class='c014' />
<p class='c012'><span class='pageno' id='Page_164'>164</span><span class='sc'>Chatby-les-Bains Sta.</span>—Turn left, as far as the
fire station, then turn right. Here, in the waste to the
left of the road, is the great Chatby Necropolis, the oldest
in the Ptolemaic city (<i>see</i> Museum, particularly Room 20
and Garden Court). Little remains. There is a tomb group
close to the road of the Anfouchi type (p. <a href='#Page_126'>126</a>)
<i>i.e.</i> a sunken court out of which the burial places open;
at the end of the tombs is a double sarcophagus of the
shape of a bed, with cushions of stone.—Right of the
tram line, other burial places, Ptolemaic and Roman,
can be found all the way to the canal.—The tram goes
through a cutting; right is the fine French Lycée, subsidized
by the French Government.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Camp de César Sta.</span>—Caesar never camped here.
An unattractive suburb, anciently Eleusis by the Sea.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Ibrahimieh Sta.</span>—Then to the right flat fertile
land appears. This, geologically, is delta deposit, which
has been silted up against the narrow spur of limestone
on which Alexandria stands (p. <a href='#Page_5'>5</a>). In the foreground,
the green turf of the Sporting Club; further, the trees of
Nouzha and the waters of Hadra. Traces of ancient
Cemeteries continue on the dry ground on the left.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Sporting Club Sta.</span>—Close to the Grand Stand of
the Race Course. Bathing beach left.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Cleopatra Sta.</span>—Cleopatra never lived here. Right
begin the famous fig trees of Sidi Gaber, reputed the best
in Egypt. Also broad leaved bananas, maize, &amp;c. A
pleasant road leads across the railway and by the side of
the lake to Nouzha Gardens (Section IV); it can be
beautiful here in the evening.—Left from the sta., at the
base of a cliff by the edge of the sea, is a Ptolemaic tomb
with painted walls, but even while one describes such
things they are being destroyed. The reefs by this tomb
form the pretty little “Friars’ pool.”</p>
<hr class='c014' />
<p class='c012'><span class='pageno' id='Page_165'>165</span><span class='sc'>Sidi Gaber Sta.</span>—Close to the main-line railway
sta. where all the Cairo expresses stop.—Left, a road
leads between fine trees to the <i>Abercrombie Monument</i>,
a poor affair, but interesting to Englishmen, as it commemorates
our exploits in 1801 (p. <a href='#Page_88'>88</a>). It is a three-sided
column of white marble, surmounted by a flaming
urn. Inscription:</p>

<p class='c028'>“To the memory of Sir Ralph Abercrombie K.B. &amp; C.
and the Officers and Men who fell at the battle of Alexandria,
March 21st, 1801.... As his life was honourable so was his
death glorious. His memory will be recorded in the annals
of his country—will be sacred to every British soldier—and
embalmed in the recollection of a grateful posterity.”</p>
<p class='c033'>Close to the Monument is the modern Mosque of Sidi
Gaber, a beneficent local saint, who flies about at night,
looks after children, &amp;c.</p>
<hr class='c014' />
<p class='c012'><a id='nawatir'></a><span class='sc'>Mustapha Pacha Sta.</span>—Right, up the road, is the
hill of Abou el Nawatir, the highest near Alexandria,
overlooking the lakes of Hadra and Mariout; exquisite
view, especially by evening light. The square enclosure
at the top belongs to the reservoir; to its S.E. half-way
between it and the railway, a <i>Gun</i> lies in the sand. This
is a relic of the fighting of July 1882. General Alison
placed most of his artillery up here (p. <a href='#Page_96'>96</a>), and the gun
still points to the Mahmoudieh Canal, in the direction
of Arabi’s camp.—Left of Mustapha Pacha Sta. on the
rise, are the British Barracks, occupying the site of the
Roman; history repeats herself, just as she has done in
the Cemeteries. Octavian’s town of Nicopolis, which he
founded in B.C. 30 to overawe Alexandria (p. <a href='#Page_44'>44</a>), began
here. Among the Roman Units here quartered were the
2nd Trajana Fortis and the 3rd Cyrenaic; the British
are too numerous to record.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Carlton Sta.</span>—The big Villa up the hill to the right
was built by a German in the Greek style, regardless of
expense or taste.</p>
<hr class='c014' />
<p class='c012'><span class='pageno' id='Page_166'>166</span><span class='sc'>Bulkeley Sta.</span>—We are now in the heart of Ramleh
(“Sand”) the struggling suburb where the British and
other foreigners reside. Lovely private gardens, the best
in Egypt. Left of the sta. is Stanley Bay, a fine bit of
coast scenery and a favourite bathing place: also the
Anglican Church of All Saints’. (p. <a href='#Page_213'>213</a>).</p>

<p class='c012'>The tramline here divides into two branches that
reunite at San Stefano. The left branch—more direct—goes
by Saba Pacha (pretty cove in coast), Glymenopoulo,
Mazloum, Zizinia—all bathing places. The right branch,
through pretty palm gloves, via Fleming, Bacos, Seffer,
Schutz, Gianaclis (left is the fine new Mosque of Ahmed
Pacha Yehia, the statesman, with provision for his tomb).</p>
<hr class='c014' />
<p class='c012'><a id='casino'></a><span class='sc'>San Stefano Sta.</span>—Close to the Casino, a fashionable
summer hotel, by the side of a sea that seems
especially fresh and blue. There are Symphony
concerts here in the season. The audience however
comes not to listen but to talk; their noise is so great
that from a little distance the orchestra appears to be
performing in dumb show.</p>

<p class='c012'><a id='spouting'></a>The tram goes on by St. George, Laurens and Palais
stations to Sidi Bishr, on the edge of a desert coast.
Fine walk or ride past Sidi Bishr Mosque to the <i>Spouting
Rocks</i>. These are most remarkable. Masses of limestone
project into the sea, which penetrates beneath them and
spouts up through blow holes and cracks. Some of the
vents have been artificially squared, and the Ancient
Alexandrians, who loved scientific toys, may have fitted
them up with musical horns or mechanical mills.—The
expedition may be continued along the coast to the
woods of Montazah (<a href='#p2s7'>Section VII</a>).</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Victoria Sta.</span> The terminus. Here is a Ry. sta.
for the Aboukir and Rosetta lines (Section VII), also
Victoria College, a huge building. It offers an education
on English Public School lines to residents in Egypt,
whatever their creed or race, and was much approved
by Lord Cromer, who founded a scholarship here.</p>

<p class='c012'><span class='pageno' id='Page_167'>167</span>The coast walk from Alexandria to Ramleh is rarely
taken but is charming—low crumbly cliffs, sandy beaches,
flat rocks, and vestiges of ancient houses and tombs that
help one to realise how the whole site of the city has sunk.
There is no road east of Silsileh. The scheme for a
grandiose “Corniche” drive has fortunately failed, and
the scenery has escaped the standardised dulness that
environs most big towns.</p>
<hr class='c014' />
<p class='c012'>Ramleh can also be reached by the Aboukir Road, an
extension of the <span lang="fr" xml:lang="fr">Rue Rosette</span> (Section I).</p>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_169'>169</span>
  <h3 class='c001'>SECTION VI.</h3>
</div>
<hr class='c025' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div><span class='large'>FROM THE SQUARE TO MEX.</span></div>
  </div>
</div>

<p class='c007'><span class='sc'>Route</span>:—By the <span lang="fr" xml:lang="fr">Rue des Soeurs</span> and Gabbari, taking the
Mex Tram (White Star). The journey is uncomfortable and
uninspiring, but Mex is pleasant.</p>
<p class='c007'><span class='pageno' id='Page_170'>170</span>We start from the south side of the Square, down
the long <span lang="fr" xml:lang="fr">Rue des Soeurs</span>, which takes its name from the
Roman Catholic Convent and School near its entrance.
The surroundings become squalid.</p>

<p class='c012'>Right of <span lang="fr" xml:lang="fr">Rue des Soeurs</span>:—<span lang="fr" xml:lang="fr">Rue Behari Bey</span> leads to
the mound of <i>Kom-el-Nadoura</i>, which rises abruptly
out of mean streets. Its history before the arrival of
Napoleon (1798 p. <a href='#Page_86'>86</a>) is unknown. His engineer Cafarelli
fortified it for him, and it held back the British
advance in 1801, (p. <a href='#Page_88'>88</a>). The entrance is on the south
side, through a doorway by a winding path fringed with
prickly pear and pepper trees. The summit—104 feet
above the sea—is now used as a signalling station and
observatory under the Ports and Lights Administration.
Interesting set of instruments, and fine view of harbour
and city. At the N.N.W. corner are some remains of
Cafarelli’s masonry.—Outside the Fort, in the <span lang="fr" xml:lang="fr">Rue Babel-Akhdar</span>
(Section II) is the Gold and Silver Bazaar.</p>

<p class='c012'>Left of <span lang="fr" xml:lang="fr">Rue des Soeurs</span> is the Genenah, a curious
rabbit warren.</p>

<p class='c012'>The tram passes down <span lang="fr" xml:lang="fr">Rue Ibrahim Premier</span>. To the
right, close to the docks, in the <span lang="fr" xml:lang="fr">Rue Karam</span>, is a Franciscan
church and school. They are modern and of no
interest, but stand on a site that was important historically.
Here was the <i>Church of St. Theonas</i> (p. <a href='#Page_46'>46</a>)
and the early palace of the bishops. Here St. Athanasius
was brought up. The Arabs (641) incorporated what
they found into a fine Mosque, called the Mosque of the
Seventy (from some fallacious connection with the Septuagint)
or the Mosque of the 1000 Columns. It was on
the lines of the Mosque of Ibn Touloun at Cairo; the <span lang="fr" xml:lang="fr">Rue
Karam</span> bisects its area; its prayer niche faced south
west. It was standing in a ruined condition when the
French came, and was turned into artillery barracks.</p>

<p class='c012'>Just before the tram reaches the Canal we pass,
right, the cotton exchange of Minet-el-Bassal. A visit—introduction
<span class='pageno' id='Page_171'>171</span>necessary—is interesting. The Exchange is
round a pleasant courtyard, with a fountain in the midst.
Samples are exhibited. The whole neighbourhood
is given up to this, the main industry, of Alexandria;
warehouses; picturesque wooded machinery for cleaning
the cotton and pressing it into bales; in the season, the
streets are slippery with greasy fluff.</p>

<p class='c012'>The Mahmoudieh Canal (p. <a href='#Page_91'>91</a>) is now crossed. The
banks have here their original stone casings and double
descents, recalling the commercial enterprise of Mohammed
Ali. A walk along the banks to the left is dirty
but attractive; it can terminate at the Kom es Chogafa
Catacombs (Section III). Right, the Canal enters
the Western Harbour.</p>

<p class='c012'>Then comes the district of Gabbari, called after a
sheikh of that name. Here was the Western Cemetery
of the Ancient City; the finds have been taken to the
Museum (Room 14). Nothing interesting until Mex.</p>

<p class='c012'><a id='mex'></a><i>Mex</i>, once a fishing village, might have become a
prosperous suburb of Alexandria, like Ramleh. But
the intervening slums have choked access to it. It lies
midway on the big curve of the Western Harbour, the
waters of Lake Mariout being close behind. There is a
good pier, with a wooden causeway that leads on to a
distant rock. The little sea front has rather a Neapolitan
air.</p>

<p class='c012'>Beyond Mex are the limestone quarries that
provided the stone for the ancient and the modern towns.
They are cut in the ridge that here separates lake and
sea.</p>

<p class='c012'>The village of Dekhela lies further along the beach.
Fine walk from it to Amrieh (Section VIII). Beyond
it the desert begins, strewn with fragments of antique
pottery.</p>

<p class='c012'><a id='agame'></a>Beyond Dekhela, at the western point of the Harbour:
<i>Fort Agame</i>. A strategic point in Napoleonic
times (p. <a href='#Page_86'>86</a>) and in the Bombardment of Alexandria
(p. <a href='#Page_94'>94</a>). Magnificent bathing. Just off the Fort is
<i>Marabout Island</i>, so called from the tomb of a local saint
<span class='pageno' id='Page_172'>172</span>which stands here, adorned with votive models of boats.
Makrizi (writing in the 14th cent.) says that men lived
longer on Marabout Island than any where else in the
world, but no one at all lives here now. From it extends
the chain of reefs that close the entrance of the Western
Harbour (p. <a href='#Page_6'>6</a>).—It is easy to visit this district from
Alexandria by sailing boat, but not easy to get back
again in the evening when the wind drops.</p>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_173'>173</span>
  <h3 id='p2s7' class='c001'>SECTION VII.</h3>
</div>
<hr class='c025' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>ABOUKIR AND ROSETTA.</div>
  </div>
</div>

<p class='c007'><span class='sc'>Route</span>:—By train from the Main (Cairo) sta., or from Sidi Gaber,
where all trains stop, and which is also a sta. for the
Ramleh tram (Section VI).</p>

<p class='c012'><span class='sc'>Chief Points of Interest</span>:—Montazah; Canopus; Aboukir
Bay; Rosetta.</p>
<div  class='figcenter id006'>
<span class='pageno' id='Page_174'>174</span>
<img src='images/i193.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'><i>Country Round Alexandria</i></span></p>
</div>
</div>
<p class='c007'><span class='pageno' id='Page_175'>175</span>At Sidi Gaber sta. is a view of Lake Hadra on the
right.—Five stations on:—Victoria, close to the College
and tram terminus.—The train passes over sand and
through a palm oasis, which is carpeted with flowers in
spring.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Mandarah Sta.</span>—One of the houses in the village
is painted outside in commemoration of the inmates
pilgrimage to Mecca—pictures of things that he saw or
would like to have seen, such as a railway train, a tiger,
a siren, and a very large melon.</p>
<hr class='c014' />
<p class='c012'><a id='montazah'></a><span class='sc'>Montazah Sta.</span>—Close to the station is the <i>Summer
Resort</i> of the ex-Khedive Abbas II, now (1922) being
restored and refurnished by King Fouad. Permission
to enter should be obtained if possible, for the scenery
is unique in Egypt and of the greatest beauty. The road
leads by roses, oleanders and pepper trees. From it a
road turns, right, up the hill to the Selamlik (men’s
quarters), built by the Khedive in a style that was likely
to please his Austrian mistress; on the terrace in front
is a sun dial and some guns. From the terrace, <i>View</i>
of the circular bay with its fantastic promontories and
breakwaters; the coast to the right is visible as far as
Aboukir, whose minaret peeps over a distant headland;
to the left are the Montazah woods; beneath, down
precipitous steps, a curved parade. Beautiful walks in
every direction, and perfect bathing. On the promontory
to the right is a kiosk, and at its point are
some remains of buildings or baths—fragments of the
ancient Taposiris Parva that once stood here; some
of them form natural fishponds. The woods are Pines
Maritimes, imported by the Khedive from Europe, and
in the western section, beyond the Pigeon House, the
trees have grown high. Various buildings are in the
estate; in one corner are the foundations of an
enormous mosque. During the recent war (1914-1919)
<span class='pageno' id='Page_176'>176</span>Montazah became a Red Cross Hospital; thousands of
convalescent soldiers passed through it and will never
forget the beauty and the comfort that they found there.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Mamourah Sta.</span>: The low ground to the right is on
the site of the Aboukir Lake (p. <a href='#Page_87'>87</a>), drained in the
19th cent. Here the Aboukir and Rosetta railways part.</p>
<h4 id='p2s7t2' class='c035'>ABOUKIR.</h4>
<p class='c007'><span class='sc'>Route</span>:—Aboukir Station is the terminus. Walk or take
donkey. Turn sharply to the left to Canopus, 1 mile, then
follow coast all the way round by Fort Kait Bey to Fort Ramleh;
return to Aboukir Village.</p>
<div  class='figcenter id001'>
<img src='images/i197.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><i><span class='sc'>Aboukir and District</span></i></p>
</div>
</div>

<p class='c012'>Aboukir, though intimately connected with Alexandria,
has a history of its own. Three main periods.</p>
<p class='c047'>(i). <span class='sc'>Ancient</span> (<i>see</i> also p. <a href='#Page_7'>7</a>).</p>
<p class='c034'>Geologically, this is the end of the long limestone spur that
projects from the Lybian desert (p. <a href='#Page_5'>5</a>). The Nile had to
round it to reach the sea, and it is to the Nile that its early fame
is due. The river poured out just to the east, through the
“Canopic” Mouth, which has now dried up, and there were
settlements here centuries before Alexandria was founded. On
the left bank of the Nile (south of the present Fort Ramleh)
Herodotus (B.C. 450) saw a temple to Heracles, and was told
that Paris and Helen had sought shelter here on their flight to
Troy—shelter that was refused by the local authorities, who
disapproved of their irregular union. There was a second
settlement at Menouthis (Fort Ramleh itself), and a third and
most famous at <i>Canopus</i> (present Fort Tewfikieh), from which
the whole district took its name.</p>

<p class='c034'>Canopus, according to Greek legend, was a pilot of Menelaus
who was bitten here by a serpent as they returned from Troy,
and, dying, became the tutelary God. The legend, like that of
Paris and Helen, shows how interested were the Greeks in the
district, but has no further importance. There is also a legend
that Canopus was an Egyptian God whose body was an earthenware
jar: this too may be discredited. With the foundation of
Alexandria (B.C. 331) the district lost much of its trade, but
became a great fashionable and religious resort. There was a
canal from Alexandria, probably connecting with the Nile just
where it entered the sea, and the Alexandrians glided along it in
barges, singing and crowned with flowers. In connection
<span class='pageno' id='Page_177'>177</span>with his new cult of Serapis (p. <a href='#Page_18'>18</a>) Ptolemy Soter built a
temple here (<i>see</i> below) whose fame spread over the world and
whose rites made the Romans blush with shame or pale with
envy; here originated the idea, still so widely held in the west,
that Egypt is a land of licentiousness and mystery. The district
decayed as soon as Christianity was established; it had not, like
Alexandria, a solid basis for its existence in trade. But Paganism
lingered here, and as late as the end of the 5th century twenty
camel-loads of idols were found secreted in a house and were
carried away to make a bonfire at Alexandria. Demons gave
trouble even in later times.</p>

<p class='c059'>(ii). <span class='sc'>Christian.</span></p>
<p class='c034'>The Patriarch Cyril (p. <a href='#Page_51'>51</a>) having destroyed the cults of
Serapis and Isis in the district (A.D. 389) sent out the relics of
St. Cyr to take their place. The relics were so intermingled with
those of another martyr, St. John, that St. John had to be brought
too, and a church to them both arose just to the south of the present
Fort Kait Bey. The two Saints remained quiet for 200
years, but then began to disentangle themselves and work
miracles, and recovered for the district some of its ancient
popularity; indeed many of their cures are exactly parallel to
those effected in the temple of Serapis. With the Arab invasion
their church vanishes, but St. Cyr has given his name to modern
Aboukir (“Father Cyr.”) In the 9th century the Canopic
branch of the Nile dried up. The Turks built some forts here
for coastal defence, but history does not recommence until the
arrival of Nelson.</p>

<p class='c059'>(iii). <span class='sc'>Modern.</span></p>
<p class='c034'>In Napoleonic times Aboukir saw two great battles.</p>
<p class='c043'><span class='pageno' id='Page_178'>178</span>(<i>a</i>). <i>“Battle of the Nile.</i>”</p>

<p class='c053'>For the event that led to this engagement <i>see</i> p. <a href='#Page_86'>86</a>. Brueys,
Napoleon’s admiral, brought his fleet into the bay for safety, and
anchored them in a long line, about two miles from the coast.
He had 13 Men-of-War, 4 Frigates, 1182 canons, and 8000 men.
To the north was “Nelson’s Island,” as it is now called, which
he had fortified and upon which his line was supposed to rest.
His flagship, the <i>Orient</i>, was midway in the line. He took up
this position on July 7th, 1798.</p>

<p class='c053'>On August 1st Nelson arrived in pursuit, with 14 Men-of-War,
1012 canons and 8068 men. The wind was N.W., a usual
direction in summer. Half his fleet, including his flagship the
<i>Vanguard</i>, attacked Brueys from the expected quarter, the east.
The other half, led by the <i>Goliath</i>, executed the brilliant manœuvre
that brought us victory. It gave Brueys a double surprise: in the
first place it passed between the head of his line and “Nelson
Island” where he thought there was no room; in the second
place it took up a position to his west, between him and the shore,
<span class='pageno' id='Page_179'>179</span>where he thought the water was too shallow. Thus he was
caught between two fires—attacked by the whole British Fleet
with the exception of the <i>Culloden</i>, which, sailing too near
Nelson Island, stranded.</p>

<p class='c053'>The engagement began at 6.00 p.m. At 7.00 Brueys was killed,
at 9.30 the <i>Orient</i> caught fire and blew up shortly afterwards;
the explosion was tremendous and terminated the first act of the
battle; an interval of appalled silence ensued. Casabianca
was sailing the <i>Orient</i>, and it was on her “burning deck” that
the boy of Mrs. Hemans’ poem stood. The fighting recommenced,
continuing through the night, and ending at midday on the 2nd
with the complete victory of Nelson. The French fleet had been
annihilated; only two Men-of-War and two Frigates escaped,
and Napoleon had lost for ever his command of the Mediterranean.
Nelson accordingly signalled the following message:—</p>

<p class='c060'>Almighty God having blessed His Majesty’s arms
with victory, the Admiral intends returning public thanksgiving
for the same at two o’clock this day, and he recommends
every ship doing the same as soon as convenient.</p>
<p class='c061'>The French expected an attack on Alexandria, but Nelson had
suffered too much himself to attempt this; having rested for a
little, he dispersed his fleet, leaving only a few ships behind to
watch the coast. In his despatches home he stated that the
engagement had taken place not far from the (Rosetta) mouth of
the Nile; hence the official “Battle of the Nile” instead of the
more accurate “Naval Battle of Aboukir.”</p>
<p class='c051'>(<i>b</i>). <i>Land Battle of Aboukir.</i></p>
<p class='c043'>Less important than its predecessor, but the strategy is
interesting, and Napoleon himself was present. For the events
that led up to it <i>see</i> p. <a href='#Page_87'>87</a>; Turkey, at the instigation of England,
had declared war on France, and in July 1799 the Turks occupied
Aboukir Bay and landed 15,000 men. Their left rested on the
present Fort Ramleh, their right on the present Fort Tewfikieh,
their camp was in the narrow extremity of the peninsula, between
the redoubt and the Fort at the very tip. They were supported
on three sides by their fleet, which was stationed in the Mediterranean,
in the Bay of Aboukir, and in the (vanished) Lake of
Aboukir. From this stronghold they proposed to overrun
Egypt.</p>

<p class='c053'>On receiving the news, Napoleon hurried down from Cairo
and arrived (July 25th) with only 10,000 men, mostly cavalry.
Murat and Kléber accompanied him. He began by clearing the
Turkish gun boats out of Lake Aboukir; then his force attacked
Forts Ramleh and Tewfikieh, while his cavalry under Murat,
advancing over the level ground between them, drove the flying
defenders of each into the Mediterranean and the Bay respectively.
5,400 Turks were drowned. The tip of the peninsula
<span class='pageno' id='Page_180'>180</span>remained and resisted vigorously, but Napoleon managed to
mount some of his guns on the hard spit of sand that still extends
along the shore of the Bay, and thus to cannonade the Turkish
Camp, which was finally taken by storm.</p>
<p class='c007'><a id='canopus'></a><span class='sc'>Ruins of Canopus.</span></p>

<p class='c012'>The ruins (<i>see</i> above) lie round Fort Tewfikieh which
is seen to the left as the train runs into the station. They
were once of interest, but have been almost entirely
destroyed by the military authorities, who use the limestone
blocks for road making, and allow treasure hunting
to go on. The remains are not easy to find, as the area
is pitted with excavations. Consult map.</p>
<p class='c028'>(<i>a</i>) About 50 yds. from the gateway of the fort, in
a hollow to the left of the road, are two huge <i>Fragments</i>
of a granite temple. Here were found the busts of
Rameses II in the Museum (Room 7) and the colossi of
the same King and his daughter (Museum, Court). Date
of statues:—B.C. 1300.</p>

<p class='c034'>(<i>b</i>) Further to the left, round the Fort, is the site of
the <i>Temple of Serapis</i>, the most famous building on the
peninsula, and celebrated throughout the antique world.
It was dedicated by Ptolemy III Euergetes (p. <a href='#Page_15'>15</a>) and his
wife Berenice. A few years later (B.C. 238) their baby
daughter died, and the priests met here in conclave to
make her a goddess, and incidentally to endorse some
reforms in the Calendar that the King, who had a scientific
mind, was pressing. The pronouncement has been
preserved in the “Decree of Canopus,” now one of the
chief documents for Ptolemaic history. As for miracles,
the temple even outstripped the original Temple of Serapis
at Alexandria: invalids who slept here even by
proxy discovered next day that they were well. It was
also the abode of magic and licentiousness according to
its enemies, and of philosophy according to its friends.
Christianity attacked it. Just before its destruction
(A.D. 289) Antoninus, an able pagan reactionary, settled
here, and tried to revive the cult. “Often he told his
disciples that after his time there would be no temple,
<span class='pageno' id='Page_181'>181</span>and that the great and venerable sanctuary would remain
only as an unmeaning mass of ruins, forgotten by all.”
(Eunapius, life of Edesius). Antoninus was right.</p>

<p class='c034'>In ancient time the Temple probably stood on the
highest ground, but with the general rising of level the
site is now in a deep depression and must be hunted for
patiently. An oblong space has been cleared and some
columns and capitals from the excavations have been
ranged round it, but it is impossible to reconstruct
the original plan, and much has yet to be unearthed.
Indeed it is not quite certain that this is the right
temple; an inscription has been discovered dedicating
it not to Serapis but to Osiris—with whom however
Serapis was often identified. The columns are of
granite or of stucco-coated limestone. Beneath the
broken tin shelter was once a pretty mosaic. The finest
object is a stupendous fluted column of red granite that
lies in a pit close by; no use for it has yet occurred to the
military authorities. To the south and east of the Temple
were the houses of the priests, showing fine cemented
passages; these have been destroyed.</p>

<p class='c034'>The canal by which revellers and worshippers
approached this shrine ran to the south, through the low
land by the railway; its course is uncertain; its exit
was either into the (vanished) Nile, or into Aboukir Bay.</p>

<p class='c034'>(<i>c</i>) <i>The Upper Baths.</i> These lie about 100 yds.
nearer the sea, on the slope just above the corner of the
great bay that stretches to Montazah (p. <a href='#Page_175'>175</a>). When
excavated a few years ago they were almost perfect. The
swimming bath—lined with the hard pink cement that
indicates Ptolemaic or Roman work—had at the top a
double step for the bathers. All round its sides were
inserted large earthenware pots, their mouths level with
the surface. Of this unique building a small fragment
now survives. The brick central cistern and the hot
baths can also still be traced.</p>

<p class='c034'>(<i>d</i>). <i>The Lower Baths and Broken Colossus.</i>—Continuing
to round Fort Tewfikieh we reach the coast and
follow it N.E. Awash with the sea are the foundations
<span class='pageno' id='Page_182'>182</span>of some large baths, showing the entrance channels
which were probably closed with sluices, also some
grooves of unknown use. On the shore above are the
hot baths of the same establishment, retaining traces of
pink cement. In the surf to the left lie blocks of granite:
closely inspected, they resolve into fragments of a Colossus
(Rameses II?) and a sphinx.</p>

<p class='c034'>(<i>e</i>). <i>Catacombs.</i>—Fifty yards on, at a point about
half-way between the coast and the fort are a couple of
catacombs, lying each of them in a hollow. One has a
subterranean room, the other a sarcophagus slide.
Traces of tombs and tunnels all over the area and along
the low cliff by the shore.</p>

<p class='c034'>This completes our survey of Canopus, once so enchanting
a spot. Of its ancient delights only the air and
the sea remain.</p>
<hr class='c048' />
<p class='c012'>Continue to follow the coast. Perfect bathing. To
the right, half-way between the coast and the railway sta.
in some rising ground, are catacombs that have been
filled in. Then comes the end of the promontory, which
is fine. There are two forts:—Fort Saba, closing the
neck, where the French resisted when the Turks landed
in 1799 (<i>see</i> above); and Fort Kait Bey, on the extremity,
founded in the 15th cent. by the Sultan of that name as
part of his defence scheme against the Turks (cf. Fort
Kait Bey at Alexandria, p. <a href='#Page_81'>81</a>). The views are good,
with the Mediterranean on one side and the tranquil
semi-circle of Aboukir Bay on the other, and from here
or from Fort Ramleh the scene of the “Battle of the
Nile” can be surveyed, and Nelson’s great manoeuvre
appreciated; “Nelson’s Island” from which the French
line depended and where the Culloden was wrecked lies
straight ahead. (<i>see</i> above.) The promontory was anciently
called Zephyrium, because it caught the cool
zephyr winds; here stood a little temple to Aphrodite
and when the great queen Arsinoe, died in B.C. 270, one
of the court admirals had the happy idea of associating
her with the elder goddess so that mariners might render
<span class='pageno' id='Page_183'>183</span>thanks to both. The shrine then became fashionable and
Queen Berenice hung up her hair here in 244 as a thank-offering
for her husband’s safe return; in the following
year the hair was snatched up to heaven, where it may
still be observed on any fine night as the constellation
of Coma Berenice. The temple was less fortunate, and
all that remains of it is the base of a column, down among
the rocks.—In Christian times the Church of St. Cyr and
St. John (<i>see</i> above) stood here, on the side of Aboukir
Bay.</p>
<hr class='c014' />
<p class='c012'><i>Aboukir Bay.</i>—The shore is airless and there are
palm trees, the waters shallow. From a boat one can
look down on the mud in which the Orient, Brueys’
flagship, has disappeared with all her treasure; attempts
have been made to locate her, but in vain. Good sailing.
Turtle fishing. On the projecting spit to which Napoleon
dragged his guns (<i>see</i> above) is the landing enclosure for
the fishing boats; many of the fishermen are Sicilians;
they have lived at Aboukir for generations and form a
community by themselves. Here (site uncertain) once
stood Menouthis.</p>

<p class='c012'>Fort Ramleh.—Topped by the waterworks. Magnificent
view. The flat ground to the south marks the
Canopic Mouth of the Nile, through which Herodotus
entered Egypt; here Heracleum stood (<i>see</i> above).</p>

<p class='c012'><a id='cleopatra'></a>About quarter mile S.W. of Fort Ramleh, and close
to a small modern pumping tower, are the so-called
<i>Baths of Cleopatra</i>. She had nothing to do with them,
but they are worth seeing. The western outer wall, of
limestone blocks, is well preserved. Steps lead up through
it. Within are pavements of pebble mosaic, fragments
of stucco, a stone with a drain groove, &amp;c. In a chamber
to the left, is an oblong bath nearly six feet deep; steps
lead down to it and in the centre of its pebbled floor is
a little depression; in the edge of the brim and on the
wall opposite are niches, as if to support beams, and provision
for the entrance and exit of the water can also be
seen. Further on, past a small stucco cistern, is an
entrance to a small room which contains an oblong bath
<span class='pageno' id='Page_184'>184</span>to lie down in, quite modern and suburban in appearance;
close to it, under a niche, is a footbath—the bather sat
on a seat which has disappeared but whose supports can
be seen.—These baths are all in the western part of the
enclosure; the rest contains other and larger chambers
but is in worse preservation. It is much to be wished
that these baths, which have been recently excavated,
could be protected properly; otherwise they will share
the fate of the other antiquities within the military zone.</p>

<p class='c012'><i>Aboukir Village</i>, to which we return through palm
trees, contains nothing of note.</p>
<hr class='c014' />
<p class='c012'>On leaving Mamourah Junction (p. <a href='#Page_176'>176</a>) the railway
to Rosetta bears to the right, and crosses the salt marshy
ground over which the Canopic branch of the Nile once
flowed to the sea. Rural Egypt can be seen at last.
Beyond El Tarh station the train crosses a bit of Lake
Edku; view of the village to the left.</p>

<p class='c012'><a id='edku'></a><i>Edku</i> (no hotel or café) stands on a high mound
between the lake and the Mediterranean. The houses
in its steep streets are of red brick strengthened with
courses of palm and other woods; they anticipate the
more complicated architecture of Rosetta; there are
some carved doors, Italianate in style. Mosques, unimportant.
On the top of the ridge are some eight sailed
windmills; they grind corn. Fine date palms grow on
the sand dunes towards the sea, for there is fresh water
just beneath the surface. There is an interesting local
weaving industry, chiefly of silk, imported in its rough
state from China. The work rooms are generally on the
upper floors of the houses, and reached by an outside
staircase. Quiet pleasant places; on the walls of some
are Cufic inscriptions, inlaid in brick. The weavers sit
to their looms in small oval pits; they have the hands of
craftsmen and produce on their simple wooden machinery
fabrics that are both durable and beautiful.</p>

<p class='c012'>Fish are caught in Lake Edku. Some of the fishermen
wade far into shallow waters; there is also a fleet
<span class='pageno' id='Page_185'>185</span>of boats which moor to the long wooden jetty by the
station. Occasional flamingoes.</p>

<p class='c012'>The railway continues between lake and sea, finally
bending northward and curving round great groves of
palm trees, behind which lie the town of Rosetta and the
river Nile.</p>
<h4 class='c035'>ROSETTA.</h4>
<p class='c007'>Rosetta and Alexandria are rivals; when one rises
the other declines. Rosetta, situated on the Nile, would
have dominated but for an overwhelming drawback:
she has, and can have, no sea-harbour, because the coast
in this part of Egypt is mere delta; the limestone
ridges that created the two harbours of Alexandria do
not continue eastward of Aboukir. Alexandria required
organising by human science, but once organised she was
irresistible. It is only in an unscientific age that Rosetta
has been important. Let us briefly examine the birth
and death, rebirth and decay, of civilisation here.</p>

<p class='c028'>(i). In Pharaonic times the town and river-port of <i>Bolbitiné</i>
were built hereabouts—probably a little up stream, beyond the
present mosque of Abou Mandour. Nothing is known of the
history of Bolbitiné. When Alexandria was founded (B.C. 331)
traffic deserted the “Bolbitiné” mouth of the Nile for the
“Canopic” and for the Alexandrian harbours, and the town
decayed consequently. Its chief memorial is the so-called
“Rosetta Stone,” a basalt inscription now in the British Museum.
The inscription enumerates the merits of King Ptolemy V
Epiphanes (B.C. 196; see genealogical tree p. <a href='#Page_12'>12</a>). It is a dull
document, a copy of the original decree which was set up at
Memphis and reproduced broadcast over the country. But it is
important because it is written in three scripts—Hieroglyphic,
Demotic and Greek—and thus led to the deciphering of the ancient
Egyptian language. The antique columns &amp;c. that may be
seen in Rosetta to-day also probably came from Bolbitiné. But
it was never important, and the sands have now covered it.</p>

<p class='c034'>(ii). <i>Rosetta</i> itself was founded in A.D. 870 by El Motaouakel,
one of the Abbaside Caliphs of Egypt. The date is most significant.
By 870 the Canopic mouth of the Nile had dried up, and
isolated Alexandria from the Egyptian water system. Shipping
passed back to the Bolbitiné mouth, and frequented it again for
nearly a thousand years. “El Raschid” as the Arabs named
<span class='pageno' id='Page_186'>186</span>the new settlement, became the western port of Egypt, Damietta
being the eastern. It was important in the Crusades; St. Louis
of France (1049) knew it as “Rexi.” In the 17th and 18th centuries
it was practically rebuilt in its present form; the mosques,
dwelling houses, cisterns, the great warehouses for grain that line
the river bank, all date from this period, it evolved an architectural
style, suitable to the locality. The chief material is brick,
made from the Nile mud, and coloured red or black, there was no
limestone to hand, such as supplied Alexandria: with the bricks
are introduced courses of palm wood, antique columns &amp;c. and
a certain amount of mashrabiyeh work and faience. The style
is picturesque rather than noble and may be compared with the
brick style of the North German Hansa towns. Examples of it are
to be found throughout the Delta and even in Alexandria herself
(p. <a href='#Page_125'>125</a>), but Rosetta is its head quarters. In architecture, as in
other matters, the town kept in touch with Cairo; an Oriental
town, scarcely westernised even to-day. So long as Alexandria
lay dormant, it flourished; at the beginning of the 19th century
its population was 35,000, that of Alexandria 5,000.</p>

<p class='c034'>In 1798 Napoleon’s troops took Rosetta, in 1801 the British
and Turks retook it, in 1807 the reconnoitring expedition of
General Frazer (p. <a href='#Page_89'>89</a>) was here repulsed. These events, unimportant
in themselves, were the prelude to an irreparable disaster:
the revival of Alexandria, on scientific lines, by Mohammed Ali.
As soon as he developed the harbours there and restored the
connection with the Nile water systems by cutting the Mahmoudieh
Canal, (p. <a href='#Page_91'>91</a>), Rosetta began to decay exactly as Bolbitiné
had decayed two thousand years before. The population now
is 14,000 as against Alexandria’s 400,000, and it has become
wizen and puny through inbreeding. The warehouses and
mosques are falling down, the costly private dwellings of the
merchants have been gutted, and the sand, advancing from the
south and from the west, invades a little farther every year
through the palm groves and into the streets. One can wander
aimlessly for hours (it is best thus to wander) and can see nothing
that is modern, nor anything more exciting than the arrival of
the fishing fleet with sardines. It is the East at last, but the
East outwitted by science, and in the last stages of exhaustion.</p>

<p class='c029'>The main street of Rosetta starts from the Railway
Station and runs due south, parallel to the river, so it is
easy to find one’s way. In it is the only hotel, kept by
a Greek; those who are not fastidious can sleep here:
the rest must manage to see the sights between trains.
The hotel has a pleasant garden, overlooked by the minaret
of a mosque.</p>

<p class='c012'><span class='pageno' id='Page_187'>187</span>In the main street, to the right;—<i>Mosque of Ali-el-Mehalli</i>,
built 1721, but containing the tomb of the
Saint, who died in the 16th century. A large but uninteresting
building, with an entrance porch in the “Delta”
style—bricks arranged in patterns, pendentives, &amp;c.</p>

<p class='c012'>Further down, to the left, by the covered bazaars:
Entrance with old doors to a large ruined building,
probably once an “okel” or courtyard for travellers
and their animals; one can walk through it and come out
the other side through a fine portal, in the direction of the
river. All this part of the town is most picturesque.
The houses are four or five stories high, and have
antique columns fantastically disposed among their brickwork.
The best and oldest example of this domestic
architecture is the <i>House of Ali-el-Fatairi</i>, in the Haret
el-Ghazl, with inscriptions above its lintels that date it
1620: its external staircase leads to two doors, those of
the men’s and women’s apartments respectively. Other
fine houses are those of:—Cheikh Hassan el Khabbaz in
<span lang="fr" xml:lang="fr">Rue Dahliz el Molk</span>; Osman Agha, at some cross roads,—carved
wood inside, date 1808; Ahmed Agha in the
Chareh el Ghabachi to the west of the town, invaded by
sand.</p>

<p class='c012'>At the end of the main street is the most important
building in the town, the <i>Mosque of Zagloul</i>. It really
consists of two mosques: the western was founded about
1600 by Zagloul, the Mamaluke or body-servant of Said
Hassan; the other and more ruinous section is the mosque
of El Diouai. There is a courtyard with fountain in centre.
The entire mass measures about 80 by 100 yds.
All is brick except the two stone minarets; the ruined
one was “cut with scissors” according to local opinion,
but according to archaeology fell in the early 19th cent.
The sanctuary of the Mosque of Zagloul proper is a
stupendous hall; over 300 columns, many of them antique,
are arranged in six parallel rows, there are four
praying niches, three of them elaborately decorated,
there is the tomb of the ex-body-servant himself, now
worshipped as a saint and wooed by votive offerings of
<span class='pageno' id='Page_188'>188</span>boats, and, in the tomb, his former master, the Said
Hassan, lies with him, and shares his honours. The
sanctuary is ruinous and carelessly built, but its perspective
effects, especially from the south wall, near the
tomb, are very fine and rival those of the Mosque of El
Azhar at Cairo. Light enters through openings in the
roof.</p>

<p class='c012'>East of the Mosque of Zagloul and close to the river
is the Mosque of <i>Mohammed el Abbas</i>, date 1809, of
superior construction but on the same style; it has,
unlike the other mosques of Rosetta, a fine dome, covering
the tomb of the saint.</p>

<p class='c012'>Other Mosques:—Toumaksis Mosque, built by Saleh
Agha Toumaksis in 1694; it is reached up steps; fine
iron work round the key holes; there is a good pulpit
inside, also tiles, and the prayer niche retains its original
geometrical decoration of hexagons and “Solomon’s
seals.”—Mosque of Cheikh Toka, which stands in an
angle of the Chareh Souk el Samak el Kadim; portal
in “Delta” style with rosace over its arches; inside,
pulpit dated 1727.</p>

<p class='c012'>About a mile to the south of the town, best reached
by boat, is the <i>Mosque of Abou Mandour</i>, a showy modern
building, well placed on the bend of the river bank, and
backed by huge sand hills that threaten to bury it, as
they have buried Bolbitiné.</p>

<p class='c012'>North of the town, and half-way between it and the
sea, is the site of Fort St. Julien, which Napoleon’s
soldiers built, and where they discovered the Rosetta
Stone. The Fort has disappeared; there is a sketch of
it in the Alexandria Museum (Vestibule).</p>

<p class='c012'>Sailing on the Nile: delightful.</p>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<div>
  <span class='pageno' id='Page_189'>189</span>
  <h3 class='c001'><span class='sc'>Section</span> VIII.</h3>
</div>
<hr class='c025' />

<div class='nf-center-c0'>
  <div class='nf-center'>
    <div>THE LIBYAN DESERT.</div>
  </div>
</div>

<p class='c007'><span class='sc'>Routes</span>:—By the Mariout Railway to Bahig for Abousir
and for St. Menas; each expedition takes a day.</p>

<p class='c012'>By Railway <i>via</i> Tel-el-Baroud and Khatatbeh to the Wady
Natrun; 2 or 3 days.</p>
<p class='c007'><span class='pageno' id='Page_190'>190</span>Alexandria, though so cosmopolitan, lies on the verge
of civilisation. Westward begins an enormous desert of
limestone that stretches into the heart of Africa. The
very existence of this desert is forgotten by most of the
dwellers in the city, but it has played a great part in her
history, especially in Christian times, and no one who
would understand her career can ignore it.</p>
<hr class='c014' />
<p class='c012'>The Mariout Railway was originally the property
of the ex-Khedive. The line starts from the central
station and diverges from the main line at Hadra.
Having passed Nouzha station (Section IV) it crosses the
Mahmoudieh Canal (p. <a href='#Page_91'>91</a>) then bends westward along
the edge of Lake Mariout. Just before Gabbari Garden
station is a fishing village built on a tiny creek and quite
Japanese in appearance. It is worth going down here
when there has been a catch: the lake fish are uncanny
monsters. The neighbourhood is very fertile—palms
bananas and vegetable gardens. But it does not make
pleasant walking owing to the smells.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Mex Station.</span> (Section VI). The train crosses the
western or Mellaha arm of Mariout. Right, are the salt
pans that turn dull purple and red in the summer
beyond them the white spur of limestone that divides
lake from sea.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Abd el Kader Station.</span> Now we approach the
Libyan desert. The scenery and the people change.
From the hill to the right, by the tomb, is a fine view, and
wonderful colour effects in the evening.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Amrieh Station</span>. This large village was formerly
head of the Eastern district of the Western Desert
Province, but the Administration is transferring to
Burg el Arab. Bedouins come to the train, bigger and
wirier than the Egyptians, and more graceful; they wear
rough white robes and soft dark red tarbooshes.—There
<span class='pageno' id='Page_191'>191</span>is a fine walk from Amrieh to Mex—the best day’s tramp
near Alexandria. The path leads north from the station,
by the communal gardens, then makes for a ridge where
limestone is quarried. View from the top over the western
arm of Mariout. Take the causeway that crosses the lake
and on the further bank turn to the right, finally crossing
the coastal ridge to Dekhela (Section VI) and so to Mex
by the sea shore.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Ikingi Mariout Station.</span> (Ikingi is Turkish for
“second.”)—A good centre for the wild flowers of February
and March. Go northward towards the lake, and
keep to the lower ground; the local flora is one of the
finest in the world.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Bahig Station.</span>—Centre for two fine expeditions—Abousir
on the coast, and St. Menas inland.</p>
<h4 class='c035'>ABOUSIR.</h4>
<p class='c007'>The ruins of Abousir lie 5½ miles N.W. from Bahig station.
They can be found without a guide. (<i>see</i> map). There is
a good road as far as Bahig village (¾ mile). Just above
the village is a big quarry, worked in ancient times and
very picturesque. A path crosses the ridge rather to
the left of this quarry, after which the ruins are in sight
all the way. The end of Mariout has to be crossed, so
the expedition should not be made in winter on account of
the mud. The last half hour of the journey is magnificent.
The Temple and the Tower stand out on the height, which
is golden with marigolds in spring time; and near the
top of the ascent the sea appears through a gap, deep
blue, and beating against a beach of snowy sand. The
flowers can be amazing, colouring the earth in every
direction. The ruins are supposed by the Bedouins to
be the palace of Abou Zeit; they really mark the Ptolemaic
city of Taposiris, whose name is preserved in the
modern Abousir.</p>

<p class='c012'><i>Taposiris</i> must have been built soon after Alexandria (about
300 B.C.), and it is instructive to compare the two towns. They
stand on the same spur—Taposiris at its base, where it has
<span class='pageno' id='Page_192'>192</span>emerged from the mass of the desert. The lake is to their south,
the sea to their north, so each commanded two harbours, to the
advantage of their trade. Each has a lighthouse, each worshipped
Osiris. Little is known of the history of Taposiris—called the
“Great” to distinguish it from “Little” Taposiris at Montazah
(p. <a href='#Page_175'>175</a>). Its immediate trade was with the lake, its sea-harbour
being ½ mile below, at the vanished port of Plinthinus. The
Arabs turned the Temple of Osiris into a fortress, and in modern
times coast guards have been installed here.</p>

<div  class='figcenter id001'>
<img src='images/i212.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'>Abousir and District</span></p>
</div>
</div>

<p class='c012'>The Chief remains are:—</p>
<p class='c028'>(i). <i>Temple of Osiris.</i> The eastern, and main, entrance
adjoins the coast-guard station. At first sight it
looks no more than a hole in a ruined wall, but it can
easily be reconstructed. Each side of the entrance were
Gate-towers (Pylons) like those of Edfu or Kom Ombo in
Upper Egypt. Their bases project from the main wall,
and up the face of each are two grooves for flag staffs,
from whose tops crimson streamers floated. Staircases,
reached from the inside, ascend each tower, and there are
also two square rooms in the base of each.</p>

<p class='c034'>The enclosure—about 100 yards square—is in a terrible
mess. The actual temple has disappeared. There must
have been a colonnaded court with an altar in the middle,
and beyond it the temple facade: on north and south of
temple would have been other courts. The arrangements
were Egyptian, but some of the workman were Greek;
mason marks with Greek letters (e.g. Alpha Kappa Rho)
have been found on the stone in the boundary wall.</p>

<p class='c034'>The north boundary wall of the enclosure is very
fine; it projects over the slope of the hill and rests on
substructures: in it is a gate for the descent to the sea.
Note the projections in the masonry. In the north
west corner are some architectural fragments, piled up
by the Arabs.
<span class='pageno' id='Page_194'>194</span>(ii). <i>Lighthouse.</i> The ruined tower on the hill to the
east of the temple was once mistaken for a tomb, since
it stands in the ancient cemetery. It is really the
Ptolemaic lighthouse of Taposiris, first of a chain that
stretched from the Pharos at Alexandria all down the
North African coast to Cyrene. It has, like the Pharos,
three stages: a square basement, an octagonal central
stage and a cylindrical top. On the north, where
the outer wall of the octagon has fallen, one can see
the marks of the staircase by which the wood was carried
to the top—a simpler version of the double spiral that
ascended the huge Alexandrian building. There can be
no doubt that the Taposiris lighthouse was modelled on
its gigantic contemporary—scale about ⅒th—and it is
thus of great importance to archaeologists and historians.
(<i>see</i> throughout p. <a href='#Page_133'>133</a>).</p>

<p class='c034'>There are tombs close to the lighthouse, and tombs and
houses all along the slope to the south of the temple.</p>

<p class='c034'>(iii). <i>Causeway.</i> South of the town, in the bed of the
lake, are traces of the embankment that connected with
the desert. It was doubtless pierced with arches like
the Heptastadion at Alexandria, to allow boats to go
through.</p>
<hr class='c048' />
<p class='c012'><a id='burg'></a>The other point of interest in the district is <i>Burg el
Arab</i> (Modern Bahig). It lies some miles west of Bahig
village (<i>see</i> above) but is easily located by the tower of
the new carpet factory. Here is to be the capital of the
Eastern District of the Western Desert Province Frontier
Districts Administration; it is being planned and executed
with great taste, thanks mainly to the genius of the Officer
Commanding, W. E. Jennings Bramly, M.C. The factory
consists of a great cloister and of two halls, one each
side of the big tower. Fragments of antique sculpture
and architecture have been cleverly introduced. The
carpets are woven from camels’ and goats’ hair by
Bedouin and Senussi women—the industry was started
at Amrieh, during the late war. Specimens can be had
in the Alexandrian shops. Further to the west other
buildings are rising, including a small walled town. It
is all most interesting, and one of the few pieces of
modern creative work to be seen in these parts.</p>
<div>
  <span class='pageno' id='Page_195'>195</span>
  <h4 class='c035'>ST. MENAS.</h4>
</div>
<p class='c007'>Seven and a half miles south of Bahig Station, in the
loneliness of the desert, lie the ruins of a great Christian
city. They can be visited between trains on a good horse,
but it is better to camp out. The track passes over
gently undulating expanses of limestone. The scenery
grows less interesting, the flora scarcer, as the coast is
left behind. At last the monotony is broken by the square
hut where the excavators used to live. The ancient name
of the place is preserved in the modern—Abumna.</p>

<div  class='figcenter id007'>
<img src='images/i215.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'>S<sup>t</sup> Menas</span><br /><span class='sc'>Plan</span> I. <i>The Sanctuary Group</i><br /><i>Subterranean work thus</i> .........</p>
</div>
</div>
<p class='c012'>Menas, a young Egyptian officer, was martyred during his
service in Asia Minor because he would not abandon Christ
(A.D. 296). When the army moved back into Egypt his friends
brought his ashes with them, and at the entrance of the Lybian
Desert a miracle took place: the camel that was carrying the
burden refused to go further. The saint was buried and forgotten.
But a shepherd observed that a sick lamb that crossed
the spot became well. He tried successfully with another lamb.
Then a sick princess was healed. The remains were exhumed,
and a church built over the grave.</p>

<p class='c012'>This church can still be traced. It is the Basilica of the
Crypt (Plan I p. <a href='#Page_196'>196</a>) date 350, to which, at the end of the century,
an immense extension was added by the Emperor Arcadius.
What caused so rapid a growth? Water. There were springs
in the limestone that have since dried up, and that must have had
curative powers. Baths were built, some of them opening out
of a church (Plan II). Little flasks, stamped with the Saint’s
image, were filled from the sacred source by his tomb. The
environs were irrigated, houses, walls, cemeteries built, until in
the pure air a sacred city sprang up, where religion was combined
with hygiene. Nor did the saint only protect invalids. He was
also the patron of the caravans that passed by him from Alexandria
to the Wady Natrun, the Siwan Oasis, and Tripoli, and
so he is always seen between two camels, who crouch in adoration
because he guides them aright. By the 6th century he had
become god of the Lybian Desert, then less deserted than now,
and his fame, like that of his predecessor Serapis, had travelled
all round the Mediterranean, and procured him worshippers as
far as Rome and France.</p>

<p class='c012'><span class='pageno' id='Page_196'>196</span>Islam checked the cult. But as late as the year 1,000, an
Arab traveller saw the great double basilica still standing. Lights
burned in the shrine night and day, and there was still left a
little trickle of “the beautiful water of St. Menas that drives
away pain.”</p>

<p class='c012'>The site, entirely forgotten, was discovered in 1905. It has
been carefully excavated. Little more than the ground plans of
the buildings remain, but they are most interesting, and the
marble decorations delightful.</p>
<div  class='figcenter id001'>
<span class='pageno' id='Page_197'>197</span>
<img src='images/i216.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'>S<sup>t</sup> Menas – Plan II.</span><br /><br /><span class='sc'><span class='under'>The Sacred Baths</span></span></p>
</div>
</div>
<p class='c012'><span class='pageno' id='Page_198'>198</span><i>The Sanctuary Group.</i> This lies a little to the south
of the excavators’ huts. Combined length, nearly 400 ft.
In the centre is the original church covering the tomb.
To its east is the impressive addition of Arcadius; to its
west a baptistery. On its north side a monastery.
The best view of the group is from a mound outside the
baptistery. The general arrangement is quite clear.
(Plan I, p. <a href='#Page_196'>196</a>). Taken in detail:—</p>

<p class='c028'>(i). <i>Church of Arcadius.</i>—Length nearly 200 feet.
A cruciform basilica with a nave and two aisles, and
aisled transepts. Over the intersection was a dome,
beneath which, now much ruined by its fall, is the
High Altar. Behind the altar are curved steps that
supported the ecclesiastical throne. Both altar and
throne are in a square enclosure where the priests and
singers stood; a narrow alley connects it with the nave.
The eastern apse has been used for burials.</p>

<p class='c034'>The Nave is paved with white marble from the
Greek archipelago. Green and purple marbles (verde
antico and porphyry) were also used. From its south
aisle, three doors open into a fine atrium. This was the
principal approach to the church. The north aisle opens—at
its east end—on to a staircase that ascended to the
roof of the church; the other doors to the monks’ apartments
and hospice (<i>see</i> below). The west end of the
nave is irregular, because the apse of the primitive
church impinges.</p>

<p class='c034'>(ii). <i>Primitive Church.</i> A small, three-aisled basilica,
not well preserved, but with interesting crypt. The
descent to this is by a marble staircase that starts in the
Arcadian church, passes by a portico with a vaulted roof
of brick, and then, after a little, turns to the south into
an oblong subterranean chamber. Here, amid rich decorations,
the ashes of the young saint once lay, is a tomb
that was probably visible from the church above. A
<span class='pageno' id='Page_199'>199</span>bas-relief of him was fixed to the south wall; the place
for the marble slab can still be seen there. The ugly
bas-relief in the Alexandria Museum (Room I) is a
copy. Attached to the crypt is a chapel once vaulted
with gold mosaic; the well in it was made by treasure-hunters.</p>

<p class='c034'>On the west of the church runs the sacred water
course from which the sanctuary derived its fame. It
is a subterranean cistern, over 80 yards long; a shaft
was sunk into it from the nave. Passing, as it did, so
near to the saint’s remains, it had special sanctity. The
water was used to fill flasks, and also in the adjacent
Baptistery.</p>

<p class='c034'>(iii). <i>The Baptistery</i> is square without and octagonal
within. In its centre, down steps, is the chief font,
which had an over-flow canal; we do not know how it
was filled. The floor was richly inlaid with serpentine,
porphyry and other marbles. There was a dome. On
its south side is an atrium. On its western exterior,
niches for statues.</p>

<p class='c034'>A Baptistery of this type—separate from the rest
of the church—is common enough in the West. But in
the East it is unique. Only at St. Menas, where water
was so prominent in the worship, does it occur.</p>
<hr class='c048' />
<p class='c012'>Immediately to the north of the Sanctuary Group
are the <i>Monastery Buildings and Hospice</i>, a confused
labyrinth. Best is a hall paved with marble and one
supported by eight columns. It lies 40 yards due north
from the gate of the Primitive Church. These buildings,
together with the Sanctuary Group that they served,
cover an area of over 40,000 square yards.</p>
<hr class='c014' />
<p class='c012'><i>The Sacred Baths</i> (Plan II). About 80 yards from the
Monastery Buildings. Best located by the fine circular
cistern of well-cut limestone blocks. The main building
has a heating apparatus and three baths. Also a small
but finely finished church; basilica type; apses at each
end; three aisles. Two baths open straight out of its
<span class='pageno' id='Page_200'>200</span>south aisles, and in its nave are two marble fountains that
were probably filled from the source in the central
sanctuary (<i>see</i> above). Throughout the arrangements
are significant. The line between the hygienic and the
miraculous is nowhere clearly drawn; heating apparatus
and church have each to play their parts. Date of the
group, probably 5th century. Another group lies beyond.</p>
<hr class='c014' />
<p class='c012'><i>Northern Cemetery.</i>—This, the most important in
the city, is some way from the groups above described.
Indeed the visitor from Bahig leaves it to his left on his
way to the hut. There is a good view of it from a mound.
The main object is a church (150 ft. long), with three
aisles, a square apse and numerous mortuary chapels
where the more prominent invalids were buried. Others
lie outside. Late date—7th-9th cent.</p>

<p class='c012'>This by no means catalogues the ruins of St. Menas.
There is a Southern Cemetery, private houses, wine
presses, a kiln where the terra cotta flasks were made.
All the desert around shows remains of the curious cult,
which in some ways anticipated the methods of Lourdes.</p>

<p class='c012'>Half a day over the desert southward brings a rider
to the Wady Natrun.</p>
<h4 id='p2s8t04' class='c035'>THE WADY NATRUN.</h4>
<p class='c007'>The Wady is best visited by arrangement with the
Egyptian Salt and Soda Company, who have the concession
for developing that section of it where the Lakes
and the Monasteries lie. The Company’s private railway
starts at Khatatbeh, on the branch line between Cairo
and Tel-el-Baroud (<i>see</i> Map. p. <a href='#Page_174'>174</a>). The train curves
up the desert to Bir Victoria, where it waters beneath
a solitary tree. Then it leaves civilisation, and for
three hours nothing is seen except an occasional
gazelle. At the end of that time the ground falls away
to the left, and the monastery of St. Macarius appears
far off. Then is seen the chain of the lakes, and across
<span class='pageno' id='Page_201'>201</span>them, often in mirage, the monasteries of St. Pschoi and
The Syrians. The train descends to the terminus of Bir
Hooker, close to the Company’s factory and rest house.</p>
<hr class='c014' />
<p class='c012'>The Wady Natrun (<i>i.e</i>. Natron, Soda) is a curious valley that
begins near Cairo, and slopes north-westward into the heart of
the Lybian Desert. It may have once been an outlet of the Nile,
though it is barred now from the sea by coastal hills. Its upper
and lower reaches are both barren, but in the central section—that
which the railway taps—water survives in the form of a
chain of mineral lakes.</p>

<p class='c012'>The deposits were worked from antiquity, but with the rise
of monasticism the Wady took a new importance, owing to its
discomfort. As early as <span class='fss'>A.D</span> 150 St. Fronto retreated here from
Alexandria. St. Ammon followed in 270; St. Macarius or
Mercury a hundred years later. The more moderate ascetics
extracted soda with the assistance of laymen; the extremists
sought a waterless stretch called Scetis—probably the southern
portion of the valley where the monastery to St. Macarius still
stands. There were soon 5,000 monks. It is natural that so
remote a community should lose touch with the theological niceties
of the capital, and in 399 the Patriarch Theophilus was obliged
to rebuke the monks for minimising the divine element in the
Second Person. Their reply was startling. They crossed the
desert, stormed Alexandria, and made the Patriarch apologise.
A few years later he led an army into the Wady to punish them,
but by now, oddly enough, they had veered to the opposite error;
they minimised the human element. The truth is they represented
native Egypt, the Patriarch the Hellenising coast. (<i>see</i>
p. <a href='#Page_51'>51</a>). The quarrel was racial rather than theological, and
when in the 6th century it came to a head, the Wady became the
natural stronghold of the national or Monophysite party who,
under the name of Copts, worship there to this day.</p>

<p class='c012'>With the 19th century came a new colony—the industrial.
It is the factory chimney of the Salt and Soda Company that
now dominates the scene. The lakes are dredged for their
deposits. The chief product is caustic soda which is poured red
hot into metal drums, and exported all over the east. Ordinary
soda (natron) is also produced. The factory is interesting. It,
and the surrounding settlement, are due in their present form to
Mr. A. H. Hooker, after whom the settlement is named.</p>

<p class='c012'>More than eighty different species of birds have been identified
in the marshes surrounding Bir Hooker.</p>
<hr class='c014' />
<p class='c013'><i>The Mineral Lakes.</i></p>
<p class='c012'>These lie between the factory and the monasteries.
Some of them are squalid, others are indescribably beautiful,
especially in summer. The deposits form at the
bottom. As they reach the top, the lake seems to be
covered with white and crimson ice, in the midst of which
are pools of blue and green water, and trickling streams of
claret, and tracts that blush like a rose. When the
scene is in mirage, its strangeness passes belief. A bird
looks as big as a man, and the lump of salt it perches on
shows like a boat of snow. The finest of these lakes is
just to the left of Bir Hooker.</p>
<div id='i221'  class='figcenter id001'>
<span class='pageno' id='Page_202'>202</span>
<img src='images/i221.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'>The Natrun Monasteries<br />Plan I. Church Of S<sup>t</sup>. Pschoi</span></p>
</div>
</div>

<div  class='figcenter id008'>
<span class='pageno' id='Page_203'>203</span>
<img src='images/i222.jpg' alt='' class='ig001' />
<div class='ic003'>
<p><span class='sc'>The Natrun Monasteries—Plan II</span><br />Convent of the Syrians—Church of the Virgin.</p>
</div>
</div>

<hr class='c014' />
<p class='c013'><span class='pageno' id='Page_204'>204</span><i>The Monasteries.</i></p>
<p class='c012'>Four of these survive, and there are the ruins of
many others. They are all of the same type, and to
avoid repetitions it may be thus summarised:</p>
<hr class='c014' />
<p class='c012'>Exterior:—an enclosure of stone laid in the middle
of the desert, covering about an acre. Palm trees and
buildings show over its walls. The walls are blank
except for one high arch, which indicates the position
of a little door, the only entrance. The black-robed
monks, when the bell has been rung, look down from the
parapet, then unbar the door, and take the traveller to
the Guest House for coffee and lemonade. They are
dirty and ignorant, but most courteous and hospitable.
All payment is refused.</p>
<hr class='c014' />
<p class='c012'>In the enclosure:—two or three churches, normally
consisting of nave, choir, and sanctuary (kaikal).
Refectory. Sleeping cells for the monks. Mill for
grinding corn. Oven, where is baked the hard brown
bread, and also the “isbodikon” (somatikon, sacrament),
a cake of fine flour beautifully stamped with a cross and
used for the Eucharist. Olive press. Granary. Garden
of palm trees, bananas, capsicums, etc. Keep (kasr) for
final retreat when attacked; reached only by a drawbridge
from the parapet of the wall; contains library,
dungeons, chapels; usually dedicated to St. Michael.</p>
<hr class='c014' />
<p class='c012'>Date: general appearance and arrangement are of
the 6th century. Most of the details are later.</p>

<p class='c012'><span class='pageno' id='Page_205'>205</span>Extract from the Thanksgiving offered at the
arrival of a distinguished visitor:—</p>

<p class='c028'>He who visits these mansions with firm faith, fervent
desire, true repentance and good works, shall have all his
sins forgiven. Then, O my reverend fathers and my beloved
brethren, come that we may pray for these our dear and
honourable brethren, who are come upon this visit and have
reached these habitations, let us pray that Jesus Christ, who
was with his servants in every time and every place, may now
be with them, and may deliver them from all sins and iniquities.
May he grant them the best of gifts and full reward,
recompensing them for all that they have endured through
toil and peril and the weariness of the journey as they travelled
hither; giving them abundance of blessing; bring them
back to their homes in safety; and after long life transport
them to the brightness of Paradise and the life of bliss,
through the intercession of Our Lady the Virgin, and of all
our holy fathers. Amen.<a id='r7' /><a href='#f7' class='c036'><sup>[7]</sup></a></p>
<div class='footnote c042' id='f7'>
<p class='c046'><span class='label'><a href='#r7'>7</a>.&nbsp;&nbsp;</span>From A. J. Butler’s Ancient Coptic Churches.</p>
</div>
<hr class='c062' />
<p class='c013'><span class='sc'>The Four Monasteries.</span></p>
<p class='c028'>(A). <i>Convent of St. Pschoi</i> (Deir Abou Bishoi).
About an hour’s ride from Bir Hooker. Dedicated to
St. Pschoi or Besa. “B” is the Coptic article, so
the saint’s name is ultimately “Isa” <i>i.e.</i> Isaiah. Little
is known about him.</p>

<p class='c034'>The convent enclosure contains:</p>
<p class='c043'>(i). <i>The Church of St. Pschoi</i> (Plan I, p. <a href='#Page_202'>202</a>). 6th-11th
cents. with later additions. A spacious entrance
porch leads to the dark but impressive interior. There
are three divisions: Nave, Choir and Sanctuary.</p>

<p class='c053'>The Nave has an arched vault; massive piers with
pointed arches divide it from its aisles. In it is an
Ambon (lectern for reading the Gospel), and a small
marble basin level with the floor, where the priest washes
the feet of the people on Maundy Thursday in commemoration
of the action of Christ. Many of the Nave
arches have been blocked up to strengthen the building.
High and narrow folding doors—recalling a Japanese
screen—close the lofty arch that leads from the Nave into
the Choir; they are set with fine carved panels, enclosed
in ivory borders. Other doors lead from the aisles.</p>

<p class='c053'><span class='pageno' id='Page_206'>206</span>The Choir too has vaulting, but it is at right angles
to that of the Nave. At each side of the Choir are
chapels, probably of later date. Left—Chapel of the
Virgin, with a chest containing the relics of St. Pschoi,
whom the monks state remains intact. Right—Chapel
of St. Ischyrion; off it is the Baptistery. The entrance
into the Sanctuary is through ancient carved doors; over
them is a triumphant arch.</p>

<p class='c053'>The Sanctuary has, behind the altar, a fine tribune
of six steps—three straight and three curved. In the
centre was the throne of the Abbot. It has gone, and
the marble decorations of the steps are ruined. Above
the throne is a marble mosaic. In the centre of the
eastern dome is a Cross.</p>

<p class='c053'>(ii). <i>The Refectory.</i>—This solemn room contains the
immense stone table, narrow and low, at which the
monks break their yearly fast. They do not eat here
usually, and use the table as a drying place for onions,
bread, etc., while cakes of salt are stacked against the
wall. At the head of the table is the Abbot’s seat. The
place is rough and indescribably untidy. But one could
scarcely find a more striking relic of primitive Christianity.</p>
<p class='c028'>(B). <i>Convent of the Syrians</i> (Deir es Suriani).—Close
to the Convent of St. Pschoi. Founded by monks from
Syria. Dedicated to the Virgin. Here Robert Curzon
(1833) discovered in the oil cellar priceless Syrian, Coptic,
and Abyssinian MSS., now in the British Museum.
He describes his find in “Monasteries of the Levant”:
it was facilitated by plying the Abbot with liqueurs.
More were brought away by Archdeacon Tattam, and
nothing valuable remains now.</p>

<p class='c034'>The enclosure contains:—</p>
<p class='c043'>(i). <i>Church of the Virgin</i> (Plan II, p. <a href='#Page_203'>203</a>)—A fine
building 40 ft. by 90, probably the model for the church
in
S<sup>t</sup>.
Pschoi—<i>i.e</i>. originating in the 6th century.</p>

<p class='c053'>The Nave has piers with high pointed arches, and
lofty vaulting, slightly pointed. In the middle, the basin
for the Maundy feet washing, a marble slab with a circular
<span class='pageno' id='Page_207'>207</span>depression. In the western semi-dome, fine fresco
of the Ascension. Precious folding doors between
nave and choir, inlaid with ivory panels of Christ in the
nimbus of the Cross, the Virgin, St. Peter and St. Mark;
round their posts and lintels a Syriac inscription, dating
them back to the 7th century.</p>

<p class='c053'>The Choir—North semi-dome; fresco of the Death
of the Virgin. South semi-dome; fresco of the Annunciation
and Nativity. Admirable work. More ancient
doors between Choir and Sanctuary; ivory panel representing
Dioscurus (Patriarch of Alexandria 450 and
founder of Monophysism <i>see</i> p. <a href='#Page_51'>51</a>), Mark, Emmanuel,
the Virgin, Ignatius, and Severus (512). Syriac inscriptions
of rather later type—8th century.</p>

<p class='c053'>Sanctuary. Skilful and effective plaster frieze
with a border below and panels of conventional trees
and vines above. Above the eastern niche a panel of
crosses. This unique decoration should be studied closely.</p>

<p class='c053'>(ii). <i>Smaller Church of the Virgin.</i> Over its entrance
to the south-west a marble cross in low relief. Inside,
another cross in black marble. Probably dedication
crosses. Pulpit in the choir.</p>

<p class='c053'>(iii). <i>Tamarind tree under the enclosing wall.</i> St.
Ephraim the Syrian (date 373) inadvertently, so they
say, laid his staff down, and it took root at once. But
it is unlikely that St. Ephraim ever visited Egypt.</p>
<hr class='c048' />
<p class='c034'>(C). Convent of St. Baramus (Deir el Baramus).
About two hours ride from Bir Hooker. Dedicated to
an unknown saint (Romaios?).</p>

<p class='c034'>In the enclosure are:—</p>
<p class='c043'>(i). <i>Church of the Virgin.</i> The piers of the nave
are built round antique marble columns. There are ten
dedication crosses, marking places signed with holy oil
at the consecration of the church—six in the nave and
four in the choir. Fine carvings on the sanctuary
screen. In the reliquary lie the brothers S.S. Maximus and
Domitius from whose mouths, when they prayed, fiery
ropes ascended to Heaven. Attached to this church are
<span class='pageno' id='Page_208'>208</span>two smaller ones—St. George (Mari Girgis) now used as
a granary; it has an ornamented dome—and St. Theodore
(Al Amir Tadrus).</p>

<p class='c053'>(ii). <i>Church of Baramus</i>, ruined by restoration.</p>

<p class='c053'>(iii). <i>The Refectory</i>—similar to that at St. Pschoi.
Date 5th or 6th century. At this entrance is a great
book-rest of stone.</p>

<p class='c053'>(iv). <i>Keep</i>, with chapel to St. Michael.</p>
<p class='c028'>(D). <i>Convent of St. Macarius</i> (Deir Abou Makar).</p>

<p class='c034'>This monastery is the least accessible of the four,
being ten miles from Bir Hooker.</p>

<p class='c034'>St. Macarius, or Mercury, the founder, was an Alexandrian
who was seen by another saint in a vision killing
the apostate Emperor Julian (d. 363). He is also celebrated
for a bunch of grapes that he refused to eat, and
for a mosquito that he killed. Overcome with remorse
at its death, he retired naked to the marshes near, and
at the end of six months was so distended by stings that
the brethren could only recognise him by his voice. He
selected this site for his monastery on account of the
badness of the communications and water supply. It
was repaired in 880. Of its later history nothing is
known.</p>

<p class='c034'>The monastery enclosure is on the usual plan. It
contains:—</p>
<p class='c043'>(i). <i>Church of Macarius.</i> Byzantine in character;
three sanctuaries, a choir, and an irregular western end.
The central sanctuary is roofed by a fine brick dome,
once covered with frescoes, and still showing traces of
its ancient windows, with their stucco partitions and
tiny panels of coloured glass. There were also frescoes
in the eastern niche, and paintings upon the entrance
arch. The sanctuary doors are well carved.</p>

<p class='c053'>Left of Sanctuary: Chapel of St. John, with a
double screen. The outer screen is set with exquisitely
carved panels—probably 8th century. Frame later. The
plaster of the dome has fallen; it too was once coloured.
St. Macarius lies in the Reliquary.</p>

<p class='c053'><span class='pageno' id='Page_209'>209</span>(ii). <i>Church of the Elders</i> (Al Shiulah), marked by
a detached bell-tower. A small building of similar plan.
One of its columns has a late classical capital.</p>

<p class='c053'>(iii). <i>Church of St. Ischyrion</i> (Abou Iskharun)—one
of the martyrs whom Alexandria, in the past, so freely
produced. A magnificent low-pitched dome almost
covers both choir and nave. It is made of bricks that
must have been carried on camels from the Delta.</p>

<p class='c053'>(iv). <i>The Keep</i> (Kasr), reached by a flight of steps
and a drawbridge. On its first floor are three chapels
dedicated to:—</p>

<p class='c053'>St. Michael—Corinthian and Doric capitals in the
nave; the Sanctuary Screen has ivory inlay; in the
Sanctuary are the bodies of sixteen patriarchs, each in a
plain deal box: St. Anthony—three ancient frescoed
figures: and St. Suah, with more frescoes. On the ground
floor, a chapel to the Virgin, with a triple altar containing
depressions of unknown use.</p>
<div class='pbb'>
 <hr class='pb c024' />
</div>
<div class='chapter'>
  <span class='pageno' id='Page_211'>211</span>
  <h2 id='appi' class='c009'><span class='sc'>Appendix I.</span><br /> <br /><span class='large'>THE MODERN RELIGIOUS COMMUNITIES.</span></h2>
</div>
<p class='c007'>The ecclesiastical life of Alexandria is not as intense to-day
as in the days of St. Athanasius, but it is even more complicated.
The city is the seat of four patriarchates, and many other religious
bodies are represented in her. The complications are partly
due to the activity of Roman Catholicism, which, in order to
win oriental schismatics back to the fold, has in each case created
a counter church that shall approximate as nearly as possible to
the conditions and ritual that are familiar—<i>e.g.</i> an Armenian
Catholic Church for the Armenians, a Coptic Catholic for the
Copts. And further complications proceed from the modern,
commercial communities who tend to regard religion as an
expression of nationality rather than of dogma.</p>

<p class='c012'>The following list of the Churches may indicate the unsuspected
vastness of the subject:—</p>

<p class='c012'><span class='sc'>Greek Patriarchate</span>: “Orthodox Greek,” or “Melchite”
church (from Melek, Arabic for King). Present Patriarch, Photius
I. His position is curious. He is a subject neither to the Kingdom
of Greece, nor to the Patriarch of Constantinople, but holds,
or rather held, his position from the Sultan of Turkey direct.
Thus ecclesiastically he is independent. His title is “Patriarch
of Alexandria, Lybia, Pentapolis, Ethiopia, and all Egypt,”
but his patriarchate does not extend beyond Egypt, which he
administers through four bishops. Historically he represents
the church that kept loyal to Byzantium and to the Emperor at
the Council of Chalcedon (A.D. 451) when the rest of Egypt began
to drift away over the Monophysite question. After the Arab
Conquest the Greek Patriarch resided in Cairo, but came back to
Alexandria about sixty years ago to the Convent and Church of
St. Saba. (p. <a href='#Page_106'>106</a>). As for dogma, the Greek Orthodox chiefly
differs from the Roman Catholic and the Protestants over the
“Filioque” clause in the Nicene creed. It holds that the Holy
Ghost proceeded not from the Father and the Son, but through
the Son. This is the point over which the East and West split,
and failed to reunite in 1459.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Churches of the Greek Community</span>: These too are
Greek Orthodox in faith. But they do not recognise the Patriarch.
Indeed their relations with him during the late war were of the
liveliest. They are the churches of a body of business men who
only owe allegiance to the Kingdom of Greece. They are self-administering,
and choose their own priests. The Patriarch
<span class='pageno' id='Page_212'>212</span>however, has the right of examining those priests’ credential, and
of giving them permission to officiate. The Community has a
Cathedral (The Annunciation) near the Place St. Catherine
(p. <a href='#Page_142'>142</a>); also three churches in Ramleh,—St. Stefano, St. Nicolas,
and the Prophet Elias.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Syrian Greek Orthodox</span>: The Church of those members
of the Syrian Community who hold the Greek Orthodox faith.
Independent of the Patriarch. Under an archimandrite. Services
in Arabic. Church—“Dormition de la Sainte Vierge” in the
<span lang="fr" xml:lang="fr">Rue el Kaid Gohar</span>.</p>

<p class='c012'>This completes the Greek Orthodox Churches.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Coptic Patriarchate</span>: The Copts are Monophysites—<i>i.e.</i>
believe that after the Incarnation the Divine and the Human in
Christ were united into a single nature. (p. <a href='#Page_76'>76</a>). This severs
them from the rest of Christendom. Historically the Patriarchate
is the opponent of the Greek Orthodox Patriarchate, from
whom it split at the Council of Chalcedon, and it claims to
represent Egyptian Christianity. In 960 the Patriarch went
to reside at Cairo, and the custom has continued, though the
title of “Patriarch of Alexandria” was retained: Besides his
powers in Egypt, the Patriarch consecrates the Metropolitan of
Abyssinia. Alexandria has a resident archbishop. Cathedral—in
the <span lang="fr" xml:lang="fr">Rue de l’Eglise Copte</span>. (p. <a href='#Page_160'>160</a>).</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Armenian Church</span>: Founded by St. Gregory the Illuminator
in the 4th Century, and, like the Coptic, Monophysite. Its
head is a “Catholicos” at Etchmiadzin, Armenia. The Alexandrian
community has a church, SS. Peter and Paul, <span lang="fr" xml:lang="fr">Rue Abou el
Dardaa</span>. (p. <a href='#Page_143'>143</a>).</p>
<hr class='c014' />
<p class='c012'>We now come to the group of churches that are in communion
with Rome. Dogma, identical. Rite, differing.</p>

<p class='c012'><span class='sc'>Latin Patriarchate</span>: Founded after the Crusades—13th
century. The Patriarch does not reside but lives at Rome, and
governs through an Apostolic Vicar who lives at Alexandria.
Chief Church—Cathedral of St. Catherine (Place St. Catherine).
(p. <a href='#Page_142'>142</a>).</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Coptic Patriarchate</span>: Organised in 1895, with title of
“Patriarchate of Alexandria and of all the Preaching of St.
Mark.” The Patriarch resides at Alexandria, and administers
Egypt through the suffragan bishops of Hermopolis Magna and
Thebes. Cathedral—<span lang="fr" xml:lang="fr">Rue de l’Hôpital Indigène</span>. (p. <a href='#Page_154'>154</a>).</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Greek Catholic Church</span>: Under the Patriarch of Antioch
who now lives at Damascus and governs Alexandria through a
<span class='pageno' id='Page_213'>213</span>Vicar General. Church: <span lang="fr" xml:lang="fr">St. Pierre</span>, <span lang="fr" xml:lang="fr">Rue Debbane</span>. (p 160.).
The priests generally officiate in Arabic, though the ecclesiastical
language is Greek.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Maronite Church</span>: Founded in the 5th century by St.
Maro, and at one time adhering to the Monothelite heresy. This
was a fainter version of the Monophysite, and asserted that
though Christ might have two natures, He only had one will.
(p. <a href='#Page_77'>77</a>). The Catholic view is that Christ had two wills, human
and divine, which were exercised in unison, and in the 18th
century the Maronite Community subscribed to this, and is
consequently in communion with Rome. Patriarch at Antioch.
Ecclesiastical language—Syrian. Church at Alexandria in the
<span lang="fr" xml:lang="fr">Rue de l’Eglise Maronite</span>. (p. <a href='#Page_140'>140</a>).</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Armenian Catholic Church</span>: Under the Patriarchate of
Cilicia, formed in the 18th century. There is a Bishop of Alexandria,
but he lives at Cairo. Church—<span lang="fr" xml:lang="fr">Rue Averoff</span>. (p. <a href='#Page_160'>160</a>).</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Chaldean Catholic Church</span>: Under the Patriarchate of
Babylon, formed 1843, to counteract the Nestorian heresy. The
Chaldeans of Alexandria, 100 strong, are said to be looking for a
plot of ground on which to build a church.</p>
<hr class='c014' />
<p class='c012'>This concludes the Catholic group. As regards the Protestants:</p>

<p class='c012'><span class='sc'>United Presbyterian Church of Egypt</span>: Most, but
not all, native Protestants belong to this body. It is attached
to the American Mission, which proselytizes mainly among the
Copts. Church—<span lang="fr" xml:lang="fr">Rue Tewfik I</span>.</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Church of England</span>: Alexandria is in the diocese of
Egypt and the Sudan. The official church of the British community
is St. Marks in the Square, built on land given to the
community by Mohammed Ali. (p. <a href='#Page_102'>102</a>). There is another
Anglican church at Ramleh (All Saints) built by some residents
there. Its living, after some heart-burnings, has been placed in
the hands of the Bishop of London. (p. <a href='#Page_166'>166</a>).</p>
<hr class='c014' />
<p class='c012'><span class='sc'>Church of Scotland</span>: St. Andrew’s, in the French
Gardens.</p>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<div class='chapter'>
  <span class='pageno' id='Page_214'>214</span>
  <h2 id='appii' class='c009'><span class='sc'>Appendix II</span>.<br /> <br /><span class='large'>THE DEATH OF CLEOPATRA</span><br /> <br /><span class='large'>(p. <a href='#Page_27'>27</a>).</span></h2>
</div>
<p class='c007'>The death of Cleopatra as described by Plutarch took hold
of the imagination of posterity, and was dramatised by Shakespeare
and by Dryden.</p>
<p class='c028'>(i). <span class='sc'>Plutarch.</span> (in North’s Translation which Shakespeare
used).</p>

<p class='c034'>Her death was very sodain. For those whom Caesar sent
unto her ran thither in all haste possible, and found the soldiers
standing at the gate, mistrusting nothing, nor understanding of
her death. But when they had opened the doors, they found
Cleopatra stark dead, laid upon a bed of gold, attired and arrayed
in her royal robes, and one of her two women, which was called
Iras, dead at her feet: and her other woman called Charmian half
dead, and trembling, trimming the diadem which Cleopatra wore
upon her head. One of the soldiers seeing her, angrily said to
her: Is that well done, Charmian? Very well said she again, and
meet for a princess descended of so many royal kings. She said
no more, but fell down dead hard by the bed.</p>

<p class='c034'>(ii). <span class='sc'>Shakespeare.</span> (Antony and Cleopatra, Act V, Scene 2)</p>

<div class='lg-container-l c063'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line in3'><i>Cleopatra.</i> Give me my robe, put on my crown; I have</div>
      <div class='line'>Immortal longings in me; now no more</div>
      <div class='line'>The juice of Egypt’s grape shall moist this lip.</div>
      <div class='line'>Yare, yare, good Iras; quick. Methinks I hear</div>
      <div class='line'>Antony call; I see him rouse himself</div>
      <div class='line'>To praise my noble act; I hear him mock</div>
      <div class='line'>The luck of Caesar, which the gods give men</div>
      <div class='line'>To excuse their after wrath: husband, I come:</div>
      <div class='line'>Now to that name my courage prove my title!</div>
      <div class='line'>I am fire and air; my other elements</div>
      <div class='line'>I give to baser life. So; have you done?</div>
      <div class='line'>Come then, and take the last warmth of my lips.</div>
      <div class='line'>Farewell, kind Charmian; Iras, long farewell.</div>
      <div class='c006'>(kisses them. Iras falls and dies).</div>
      <div class='line'>Have I the aspic in my lips? Dost fall?</div>
      <div class='line'>If thou and nature can so gently part,</div>
      <div class='line'>The stroke of death is as a lover’s pinch,</div>
      <div class='line'>Which hurts and is desired. Dost thou lie still?</div>
      <div class='line'>If thus thou vanishest, thou tell’st the world</div>
      <div class='line'>It is not worth leave-taking.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Charmian.</i> Dissolve thick cloud and rain; that I may say</div>
      <div class='line'>The gods themselves do weep.</div>
    </div>
    <div class='group'>
      <div class='line in3'><span class='pageno' id='Page_215'>215</span><i>Cleopatra.</i>                   This proves me base:</div>
      <div class='line'>If she meet first the curled Antony</div>
      <div class='line'>He’ll make demand of her, and spend that kiss</div>
      <div class='line'>Which is my heaven to have. Come thou mortal wretch</div>
      <div class='c006'>(to the asp, which she applies to her breast)</div>
      <div class='line'>With thy sharp teeth this knot intrinsicate</div>
      <div class='line'>Of life at once untie; poor venomous fool,</div>
      <div class='line'>Be angry, and despatch. O! couldst thou speak,</div>
      <div class='line'>That I might hear thee call great Caesar ass</div>
      <div class='line'>Unpolicied.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Charmian.</i>   O eastern star!</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Cleopatra.</i>                  Peace, peace!</div>
      <div class='line'>Dost thou not see my baby at my breast,</div>
      <div class='line'>That sucks the nurse asleep?</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Charmian.</i>                    O, break! O, break!</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Cleopatra.</i> As sweet as balm, as soft as air, as gentle—</div>
      <div class='line'>O Antony!—Nay, I will take thee too.</div>
      <div class='c006'>(applying another asp to her arm)</div>
      <div class='line'>What should I stay—      (dies).</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Charmian.</i> In this vile world? So, fare thee well.</div>
      <div class='line'>Now boast thee, death, in thy possession lies</div>
      <div class='line'>A lass unparallel’d. Downy windows, close;</div>
      <div class='line'>And golden Phœbus never be beheld</div>
      <div class='line'>Of eyes again so royal! Your crown’s awry;</div>
      <div class='line'>I’ll mend it, and then play.</div>
      <div class='c006'>(enter the Guard, rushing in)</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>First Guard.</i> Where is the queen?</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Charmian.</i>                        Speak softly, wake her not.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>First Guard.</i> Caesar hath sent—</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Charmian.</i>                           Too slow a messenger.</div>
      <div class='c006'>(applies an asp)</div>
    </div>
    <div class='group'>
      <div class='line'>O! come apace, dispatch; I partly feel thee.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>First Guard.</i> Approach, ho! All’s not well; Caesar’s beguil’d.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Second Guard.</i> There’s Dolabella sent from Caesar; call him.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>First Guard.</i> What work is this? Charmian, is this well done?</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Charmian.</i> It is well done and fitting for a princess</div>
      <div class='line'>Descended of so many royal kings.</div>
      <div class='line'>Ah! Soldier.</div>
      <div class='c006'>(dies)</div>
    </div>
  </div>
</div>

<p class='c057'>(iii). <span class='sc'>Dryden.</span> (All for Love, Act. V Scene I).</p>

<div class='lg-container-l c063'>
  <div class='linegroup'>
    <div class='group'>
      <div class='line in3'><i>Charmian.</i>                              To what end</div>
      <div class='line'>These ensigns of your Pomp and Royalty?</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Cleopatra.</i> Dull that thou art! why, ’tis to meet my Love;</div>
      <div class='line'>As when I saw him first, on Cydno’s bank,</div>
      <div class='line'>All sparkling, like a goddess; so adorned,</div>
      <div class='line'><span class='pageno' id='Page_216'>216</span>I’ll find him, once again: my second spousals</div>
      <div class='line'>Shall match my first in glory. Haste, haste, both,</div>
      <div class='line'>And dress the bride of Antony.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Charmian.</i>                      ’Tis done.</div>
    </div>
    <div class='group'>
      <div class='line in2'><i>Cleopatra.</i> Now set me by my lord. I claim this place:</div>
      <div class='line'>For I must conquer Caesar too, like him,</div>
      <div class='line'>And win my share o’ th’ world. Hail, you dear relics</div>
      <div class='line'>Of my immortal love!</div>
      <div class='line in2'>O let no impious hand remove you hence;</div>
      <div class='line'>But rest for ever here. Let Egypt give</div>
      <div class='line'>His death that peace, which it denied his life.</div>
      <div class='line'>Reach me the casket.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Iras.</i>                Underneath the fruit</div>
      <div class='line'>The aspic lies.</div>
    </div>
    <div class='group'>
      <div class='line in16'>Welcome, thou kind deceiver!</div>
    </div>
    <div class='group'>
      <div class='line in4'><i>Cleopatra.</i></div>
      <div class='c006'>(putting aside the leaves)</div>
    </div>
    <div class='group'>
      <div class='line'>Thou best of thieves; who, with an easy key,</div>
      <div class='line'>Dost open life, and, unperceived by us,</div>
      <div class='line'>Ev’n steal us from ourselves; discharging so</div>
      <div class='line'>Death’s dreadful office, better than himself,</div>
      <div class='line'>Touching our limbs so gently into slumber,</div>
      <div class='line'>That Death stands by, deceived by his own image,</div>
      <div class='line'>And thinks himself but sleep.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Serapion</i> (within).            The Queen, where is she?</div>
      <div class='line'>The town is yielded, Caesar’s at the gates.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Cleopatra.</i> He comes too late t’invade the rights of death.</div>
      <div class='line'>Haste, bare my arm, and rouse the serpent’s fury.</div>
      <div class='c006'>(holds out her arm, and draws it back)</div>
    </div>
    <div class='group'>
      <div class='line'>Coward flesh—</div>
      <div class='line'>Would’st thou conspire with Caesar to betray me,</div>
      <div class='line'>As thou wert none of mine? I’ll force thee to it</div>
      <div class='line'>And not be sent by him,</div>
      <div class='line'>But bring myself my soul to Antony.</div>
      <div class='c006'>(turns aside, and then shows her arm bloody)</div>
    </div>
    <div class='group'>
      <div class='line'>Take hence; the work is done.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Serapion</i> (within).             Break ope the door</div>
      <div class='line'>And guard the traitor well.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Charmian.</i>                   The next is ours.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Iras.</i> Now, Charmian, be too worthy</div>
      <div class='line'>Of our great queen and mistress.</div>
      <div class='c006'>(they apply the aspics)</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Cleopatra.</i> Already, death, I feel thee in my veins;</div>
      <div class='line'>I go with such a will to find my lord,</div>
      <div class='line'>That we shall quickly meet.</div>
      <div class='line'>A heavy numbness creeps through every limb,</div>
      <div class='line'>And now ’tis at my head: my eyelids fail</div>
      <div class='line'>And my dear love is vanished in a mist.</div>
      <div class='line'><span class='pageno' id='Page_217'>217</span>Where shall I find him, where? O turn me to him,</div>
      <div class='line'>And lay me on his breast—Caesar, thy worst;</div>
      <div class='line'>Now part us if thou canst.</div>
      <div class='c006'>(Dies. Iras sinks down at her feet and dies;</div>
      <div class='c006'>Charmian stands behind her chair as dressing</div>
      <div class='c006'>her head. Enter Serapion, two priests, Alexas</div>
      <div class='c006'>bound, Egyptians).</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Two Priests.</i> Behold, Serapion, what havoc death hath made.</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Serapion.</i> ’Twas what I feared. Charmian, is this well done?</div>
    </div>
    <div class='group'>
      <div class='line in3'><i>Charmian.</i> Yes, ’tis well done, and like a queen, the last</div>
      <div class='line'>Of her great race: I follow her.</div>
      <div class='c006'>(sinks down; dies).</div>
    </div>
  </div>
</div>

<div class='pbb'>
 <hr class='pb c003' />
</div>
<div class='chapter'>
  <h2 id='appiii' class='c009'><span class='sc'>Appendix III.</span><br /> <br /><span class='large'>THE UNCANONICAL GOSPELS OF EGYPT.</span><br /> <br /><span class='large'>(p. <a href='#Page_73'>73</a>).</span></h2>
</div>
<p class='c049'>(i). <span class='sc'>From the Gospel according to the Egyptians.</span></p>

<p class='c034'>The Lord said unto Salome, who asked how long death
would prevail, “As long as ye women bear children. I have
come to undo the work of woman.” And Salome said “Then have
I done well in that I have not born children.” The Lord answered
and said “Eat every plant, but that which has bitterness eat
not.” When Salome asked when would be known the things
about which he spake (<i>i.e.</i> the Last Judgement) the Lord said
“Whenever ye put off the garment of shame, when the two
become one, and the male with the female, there being neither
male nor female.”</p>

<p class='c034'>(ii). <span class='sc'>From the Gospel according to the Hebrews.</span></p>

<p class='c034'>Jesus saith:—“Let not him who seeks cease until he find
and when he finds he shall be astonished; astonished, he shall
reach the Kingdom, and having reached the Kingdom he shall
rest.”</p>

<p class='c034'>(iii). <span class='sc'>From uncertain sources</span> (about 200 <span class='fss'>A.D.</span>)</p>

<p class='c034'>Jesus saith:—“Except ye fast to the world, ye shall in no
wise find the Kingdom of God; and except ye make the sabbath
a real sabbath, ye shall not see the Father.”</p>

<p class='c034'>Jesus saith:—“Wherever there are two, they are not
without God, and when ever there is one alone, I say, I am with
him. Raise the stone and there thou shalt find me; cleave the
wood, and there am I.”</p>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<div class='chapter'>
  <span class='pageno' id='Page_218'>218</span>
  <h2 id='appiv' class='c009'><span class='sc'>Appendix IV.</span><br /> <br /><span class='large'>THE NICENE CREED.</span><br /> <br /><span class='large'>(pp. 49 and 75).</span></h2>
</div>
<p class='c007'>Here is the text as originally passed by the Council, including
the paragraph against the Arians; additions to the original
texts are enclosed within brackets.</p>

<p class='c012'>We believe in one God, the Father Almighty, maker of all
things, both visible and invisible.</p>

<p class='c012'>And in one Lord, Jesus Christ, the Son of God, begotten of
the Father (only begotten, that is to say of the substance of
the Father) God of God and Light of Light, very God of very
God, begotten, not made, being of one substance with the Father,
by whom all things were made (both things in Heaven and things
on Earth); who for us men and for our salvation came down and
was made flesh, made man, suffered and rose again on the third
day, went up into the heavens and is to come again to judge the
quick and the dead;</p>

<p class='c012'>And in the Holy Ghost;</p>

<p class='c012'>But the Holy Catholic and Apostolic Church anathematises
those who say that there was a time when the Son of God was
not, and that he was not before he was begotten, and that he was
made from that which did not exist; or who assert that he is of
other substance or essence than the Father, or is susceptible of
change.</p>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<div class='chapter'>
  <span class='pageno' id='Page_219'>219</span>
  <h2 id='index' class='c009'><span class='xlarge'>INDEX</span><br /> <br /><span class='large'>OF MAIN REFERENCES</span></h2>
</div>

<ul class='index c024'>
  <li class='c064'>Abercrombie, General, <a href='#Page_87'>87</a>, <a href='#Page_165'>165</a></li>
  <li class='c064'>Abou, Bakr, Rock, <a href='#Page_132'>132</a></li>
  <li class='c064'>Abou el Nawatir, Hill, <a href='#Page_96'>96</a>, <a href='#Page_165'>165</a></li>
  <li class='c064'><a id='aboukir'></a>Aboukir, <a href='#Page_176'>176</a>-<a href='#Page_184'>184</a>
    <ul>
      <li>battle of, <a href='#Page_87'>87</a>, <a href='#Page_179'>179</a></li>
      <li>lake of, <a href='#Page_87'>87</a></li>
      <li><i>see</i> <a href='#canopusix'>Canopus</a></li>
    </ul>
  </li>
  <li class='c064'><a id='abousir'></a>Abousir, <a href='#Page_191'>191</a>-<a href='#Page_192'>192</a></li>
  <li class='c064'>Aboumna, <a href='#Page_195'>195</a>
    <ul>
      <li><i>see</i> <a href='#stmenas'>St. Menas</a></li>
    </ul>
  </li>
  <li class='c064'>Abyssinians, <a href='#Page_76'>76</a></li>
  <li class='c064'>Achilles Tatius, bishop and novelist, <a href='#Page_104'>104</a></li>
  <li class='c064'>Actium, Battle, <a href='#Page_26'>26</a></li>
  <li class='c064'>Adonis—Festival, <a href='#Page_32'>32</a>-<a href='#Page_33'>33</a></li>
  <li class='c064'>Akhmin Tapestries, <a href='#Page_110'>110</a>, <a href='#Page_112'>112</a></li>
  <li class='c064'>Alexander the Great, <a href='#Page_8'>8</a>-<a href='#Page_9'>9</a>, <a href='#Page_27'>27</a>, <a href='#Page_115'>115</a></li>
  <li class='c064'>Alexandria, <i>passim</i></li>
  <li class='c064'>Alexandrian Year
    <ul>
      <li><i>see</i> <a href='#calendar'>Calendar</a></li>
    </ul>
  </li>
  <li class='c064'>Alison, General, <a href='#Page_95'>95</a>-<a href='#Page_96'>96</a>, <a href='#Page_165'>165</a></li>
  <li class='c064'>Allenby, General, <a href='#Page_156'>156</a></li>
  <li class='c064'>Ammon, St., <a href='#Page_50'>50</a></li>
  <li class='c064'>Ammonius Saccas, philosopher <a href='#Page_65'>65</a></li>
  <li class='c064'>Amr, <a href='#Page_54'>54</a>-<a href='#Page_57'>57</a></li>
  <li class='c064'>Amrieh, <a href='#Page_190'>190</a>-<a href='#Page_191'>191</a></li>
  <li class='c064'>Anfouchi Catacombs, <a href='#Page_126'>126</a>-<a href='#Page_129'>129</a></li>
  <li class='c064'>Annianus, St., <a href='#Page_45'>45</a></li>
  <li class='c064'>Antirrhodus, island, <a href='#Page_17'>17</a></li>
  <li class='c064'>Antoniadis Villa, <a href='#Page_92'>92</a>, <a href='#Page_96'>96</a>, <a href='#Page_157'>157</a></li>
  <li class='c064'>Antoninus, philosopher, <a href='#Page_180'>180</a></li>
  <li class='c064'>Antony, Mark, <a href='#Page_25'>25</a>-<a href='#Page_27'>27</a></li>
  <li class='c064'>Antony, St., <a href='#Page_50'>50</a></li>
  <li class='c064'>Apis, <a href='#Page_18'>18</a></li>
  <li class='c064'>Apollonius of Perga, mathematician, <a href='#i053'>37</a></li>
  <li class='c064'>Apollonius of Rhodes, poet, <a href='#Page_30'>30</a>-<a href='#Page_31'>31</a></li>
  <li class='c064'>Arab Conquest, <a href='#Page_52'>52</a>-<a href='#Page_59'>59</a>
    <ul>
      <li>town, <a href='#Page_80'>80</a>-<a href='#Page_81'>81</a></li>
      <li>walls, <a href='#Page_81'>81</a>, <a href='#Page_106'>106</a>, <a href='#Page_155'>155</a></li>
    </ul>
  </li>
  <li class='c064'>Arabi Pacha, <a href='#Page_93'>93</a>-<a href='#Page_96'>96</a></li>
  <li class='c064'>Arcadius, Emperor, <a href='#Page_195'>195</a></li>
  <li class='c064'>Aristarchus of Samos, astronomer, <a href='#Page_41'>41</a></li>
  <li class='c064'>Arius and Arianism, <a href='#Page_48'>48</a>-<a href='#Page_49'>49</a>, <a href='#Page_75'>75</a>-<a href='#Page_76'>76</a></li>
  <li class='c064'>Arsinoe, wife of Ptolemy II, <a href='#Page_12'>12</a>, <a href='#Page_14'>14</a>, <a href='#Page_21'>21</a></li>
  <li class='c064'>Art under Ptolemies, <a href='#Page_35'>35</a></li>
  <li class='c064'><span class='pageno' id='Page_220'>220</span>Astronomy under Ptolemies, <a href='#Page_41'>41</a></li>
  <li class='c064'>Athanasius, St., <a href='#Page_48'>48</a>-<a href='#Page_49'>49</a>, <a href='#Page_75'>75</a></li>
  <li class='c064'>Augustus
    <ul>
      <li><i>see</i> <a href='#octavian'>Octavian</a></li>
    </ul>
  </li>
  <li class='c024'>Bahig, <a href='#Page_191'>191</a></li>
  <li class='c064'>Banco di Roma, <a href='#Page_103'>103</a></li>
  <li class='c064'>Baramus, St., <a href='#Page_207'>207</a></li>
  <li class='c064'>Basilides, gnostic, <a href='#Page_71'>71</a></li>
  <li class='c064'>Bathing, <a href='#Page_132'>132</a>, <a href='#Page_166'>166</a>, <a href='#Page_175'>175</a>, <a href='#Page_182'>182</a></li>
  <li class='c064'>“Battle of the Nile,” <a href='#Page_87'>87</a>, <a href='#Page_177'>177</a></li>
  <li class='c064'>Belon, Pierre, (old map), <a href='#Page_83'>83</a></li>
  <li class='c064'>Berenice wife of Ptolemy I, <a href='#Page_136'>136</a></li>
  <li class='c064'>Berenice wife of Ptolemy III, and her Hair, <a href='#Page_15'>15</a>, <a href='#Page_28'>28</a>, <a href='#Page_30'>30</a>, <a href='#Page_41'>41</a></li>
  <li class='c064'>Bir Hooker, <a href='#Page_201'>201</a></li>
  <li class='c064'>Birds, <a href='#Page_201'>201</a></li>
  <li class='c064'>Bolbitinè, <a href='#Page_185'>185</a></li>
  <li class='c064'>Bombardment of Alexandria, <a href='#Page_93'>93</a>-<a href='#Page_96'>96</a></li>
  <li class='c064'>Bourse, <a href='#Page_103'>103</a></li>
  <li class='c064'>Breakwater, Eastern, <a href='#Page_138'>138</a>
    <ul>
      <li>Western, <a href='#Page_129'>129</a></li>
    </ul>
  </li>
  <li class='c064'>Breccia, E. Professor, iv, <a href='#Page_107'>107</a></li>
  <li class='c064'>Bruey’s, Admiral, <a href='#Page_86'>86</a>-<a href='#Page_87'>87</a>, <a href='#Page_177'>177</a>-<a href='#Page_179'>179</a></li>
  <li class='c064'>Bryaxis, sculptor, <a href='#Page_19'>19</a></li>
  <li class='c064'>Burg el Arab, <a href='#Page_194'>194</a></li>
  <li class='c064'>Butler, A. J., <a href='#Page_205'>205</a></li>
  <li class='c024'>Caesar, Julius, <a href='#Page_23'>23</a>-<a href='#Page_25'>25</a></li>
  <li class='c064'>Caesareum
    <ul>
      <li><i>see</i> <a href='#temples'>Temples</a>, <a href='#churches'>Churches</a></li>
    </ul>
  </li>
  <li class='c064'>Caesarion, <a href='#Page_26'>26</a></li>
  <li class='c064'><a id='calendar'></a>Calendar, <a href='#Page_41'>41</a>-<a href='#Page_42'>42</a></li>
  <li class='c064'>Callimachus, poet, <a href='#Page_30'>30</a>-<a href='#Page_31'>31</a>, <a href='#Page_156'>156</a></li>
  <li class='c064'><a id='canopusix'></a>Canopus, <a href='#Page_7'>7</a>, <a href='#Page_113'>113</a>, <a href='#Page_120'>120</a>, <a href='#Page_176'>176</a>-<a href='#Page_177'>177</a>, <a href='#Page_180'>180</a>, <a href='#Page_182'>182</a>
    <ul>
      <li>Decree of, <a href='#Page_42'>42</a>, <a href='#Page_182'>182</a></li>
      <li>Canopic Mouth of Nile, <a href='#Page_25'>25</a>, <a href='#Page_80'>80</a></li>
      <li>Canopic Street, Alexandria, <a href='#Page_10'>10</a>, <a href='#Page_49'>49</a>, <a href='#Page_80'>80</a>, <a href='#Page_104'>104</a>-<a href='#Page_115'>115</a></li>
      <li>Canopic Vases, <a href='#Page_115'>115</a></li>
      <li><i>see</i> <a href='#aboukir'>Aboukir</a></li>
    </ul>
  </li>
  <li class='c064'>Carpocrates, gnostic, <a href='#Page_71'>71</a></li>
  <li class='c064'>Catechetical School, <a href='#Page_46'>46</a>, <a href='#Page_73'>73</a></li>
  <li class='c064'>Catherine of Alexandria, St., <a href='#Page_46'>46</a>, <a href='#Page_106'>106</a>, <a href='#Page_142'>142</a>
    <ul>
      <li><i>see</i> <a href='#churches'>Churches</a></li>
    </ul>
  </li>
  <li class='c064'>Cavafy, C. P., poet, V., <a href='#Page_98'>98</a></li>
  <li class='c064'>Cemeteries, Ancient, <a href='#Page_119'>119</a>, <a href='#Page_129'>129</a>, <a href='#Page_156'>156</a>, <a href='#Page_163'>163</a>
    <ul>
      <li>Modern, <a href='#Page_143'>143</a>, <a href='#Page_163'>163</a></li>
      <li><i>see</i> <a href='#tombs'>Tombs</a></li>
    </ul>
  </li>
  <li class='c064'>Cerinthus, gnostic, <a href='#Page_71'>71</a></li>
  <li class='c064'>Chalcedon, Council of, <a href='#Page_52'>52</a>, <a href='#Page_76'>76</a></li>
  <li class='c064'>Champs Elysées, <a href='#Page_152'>152</a></li>
  <li class='c064'><span class='pageno' id='Page_221'>221</span>Charmian, <a href='#Page_27'>27</a>, <a href='#Page_214'>214</a></li>
  <li class='c064'>Chatby, <a href='#Page_163'>163</a>-<a href='#Page_164'>164</a></li>
  <li class='c064'>Chérif Pacha, <span lang="fr" xml:lang="fr">Rue</span>, <a href='#Page_103'>103</a></li>
  <li class='c064'>Christianity, Early, <a href='#Page_45'>45</a>-<a href='#Page_52'>52</a>, <a href='#Page_69'>69</a>-<a href='#Page_77'>77</a>
    <ul>
      <li>Contemporary, <a href='#Page_211'>211</a>-<a href='#Page_213'>213</a></li>
      <li>remains in Museum, <a href='#Page_110'>110</a>, <a href='#Page_120'>120</a></li>
      <li><i>see</i> <a href='#churches'>Churches</a></li>
    </ul>
  </li>
  <li class='c064'><a id='churches'></a>Churches:
    <ul>
      <li>(i) Ancient:
        <ul>
          <li>St. Athanasius, <a href='#Page_143'>143</a>; <i>see</i> <a href='#mosque'>Mosque</a>, <a href='#attarine'>Attarine</a></li>
          <li>SS. Cyr and John, Aboukir, <a href='#Page_183'>183</a>, <a href='#Page_177'>177</a></li>
          <li>St. Mark, <a href='#Page_46'>46</a>, <a href='#Page_48'>48</a>, <a href='#Page_160'>160</a>, <a href='#Page_163'>163</a></li>
          <li><a id='stmenas'></a>St. Menas (remains), <a href='#Page_195'>195</a>-<a href='#Page_200'>200</a></li>
          <li>St. Michael, <a href='#Page_161'>161</a>: <i>see</i> <a href='#caesareum'>Temple Caesareum</a></li>
          <li>St. Theonas <a href='#Page_46'>46</a>, <a href='#Page_49'>49</a>, <a href='#Page_170'>170</a></li>
        </ul>
      </li>
      <li>(ii) Existing:
        <ul>
          <li>All Saints: Anglican, <a href='#Page_166'>166</a></li>
          <li>Armenian, <a href='#Page_143'>143</a>, <a href='#Page_155'>155</a></li>
          <li>Cathedral, Coptic Catholic, <a href='#Page_154'>154</a></li>
          <li>Cathedral, Coptic Orthodox, <a href='#Page_160'>160</a>-<a href='#Page_161'>161</a></li>
          <li>Cathedral, Greek Community, <a href='#Page_142'>142</a></li>
          <li>Maronite, <a href='#Page_140'>140</a></li>
          <li>St. Catherine’s Catholic Cathedral, <a href='#Page_142'>142</a></li>
          <li>St. Mark’s, Anglican, <a href='#Page_102'>102</a></li>
          <li>St. Saba, Greek Patriarchate, <a href='#Page_106'>106</a></li>
          <li>Wady Natrun Churches, <a href='#Page_204'>204</a>-<a href='#Page_209'>209</a></li>
          <li><i>see also</i> <a href='#Page_211'>211</a>-<a href='#Page_213'>213</a></li>
        </ul>
      </li>
    </ul>
  </li>
  <li class='c064'>Clement of Alexandria, Hestogian, <a href='#Page_46'>46</a>, <a href='#Page_73'>73</a></li>
  <li class='c064'>Cleopatra, <a href='#Page_23'>23</a>-<a href='#Page_27'>27</a>, <a href='#Page_214'>214</a>-<a href='#Page_216'>216</a>
    <ul>
      <li>“Baths”, <a href='#Page_183'>183</a></li>
      <li>“Needles”, <a href='#Page_26'>26</a>, <a href='#Page_90'>90</a>, <a href='#Page_137'>137</a>, <a href='#Page_161'>161</a>-<a href='#Page_162'>162</a></li>
    </ul>
  </li>
  <li class='c064'>Coins, Ancient, <a href='#Page_111'>111</a>-<a href='#Page_112'>112</a></li>
  <li class='c064'>Constantine, Emperor, <a href='#Page_47'>47</a>-<a href='#Page_49'>49</a></li>
  <li class='c064'>Constantinople, <a href='#Page_47'>47</a></li>
  <li class='c064'>Constantius, Emperor <a href='#Page_49'>49</a></li>
  <li class='c064'>Copts, <a href='#Page_51'>51</a>-<a href='#Page_52'>52</a>, <a href='#Page_76'>76</a>, <a href='#Page_201'>201</a></li>
  <li class='c064'>Crusaders, <a href='#Page_145'>145</a>, <a href='#Page_186'>186</a></li>
  <li class='c064'>Curzon’s “Monasteries of the Levant,” <a href='#Page_206'>206</a></li>
  <li class='c064'>Cyril, Patriarch, <a href='#Page_51'>51</a></li>
  <li class='c064'><a id='cyrus'></a>Cyrus, Patriarch, <a href='#Page_54'>54</a>-<a href='#Page_56'>56</a></li>
  <li class='c024'>Damiana, St., <a href='#Page_160'>160</a></li>
  <li class='c064'>De Cerisy, <a href='#Page_91'>91</a></li>
  <li class='c064'>Decius, Emperor, <a href='#Page_46'>46</a></li>
  <li class='c064'>Dekhela, <a href='#Page_171'>171</a></li>
  <li class='c064'>Demetrius Phalerus, philosopher, <a href='#Page_17'>17</a></li>
  <li class='c064'>Demiurge, <a href='#Page_71'>71</a>-<a href='#Page_72'>72</a></li>
  <li class='c064'>De Monconys (old map), <a href='#Page_84'>84</a></li>
  <li class='c064'>Dinocrates, architect, <a href='#Page_8'>8</a>, <a href='#Page_20'>20</a></li>
  <li class='c024'><span class='pageno' id='Page_222'>222</span>Diocletian, Emperor, <a href='#Page_46'>46</a>, <a href='#Page_146'>146</a></li>
  <li class='c064'>Dioscurus, Patriarch, <a href='#Page_51'>51</a></li>
  <li class='c064'>Dryden’s “All for Love” 215-<a href='#Page_216'>216</a>.</li>
  <li class='c024'>Earle, General, <a href='#Page_102'>102</a></li>
  <li class='c064'>Edku, <a href='#Page_184'>184</a>-<a href='#Page_185'>185</a></li>
  <li class='c064'>Egypt <i>passim</i></li>
  <li class='c064'>Egyptian Government Hospital, <a href='#Page_162'>162</a></li>
  <li class='c064'>El Deraoui, poet, <a href='#Page_137'>137</a></li>
  <li class='c064'>Ennaton Monastery, <a href='#Page_50'>50</a></li>
  <li class='c064'>Ephraim, St., <a href='#Page_207'>207</a></li>
  <li class='c064'>“Era of Martyrs”, <a href='#Page_47'>47</a></li>
  <li class='c064'>Erasistratus, physiologist, <a href='#Page_42'>42</a></li>
  <li class='c064'>Eratosthenes, astronomer, <a href='#i053'>37</a>, <a href='#i054'>37</a>, <a href='#Page_40'>40</a>, <a href='#Page_41'>41</a></li>
  <li class='c064'>Euclid, mathematician, <a href='#i053'>37</a></li>
  <li class='c024'>Farkha Canal, <a href='#Page_152'>152</a>, <a href='#Page_155'>155</a></li>
  <li class='c064'>Fay, Mrs. Eliza, visitor, <a href='#Page_84'>84</a></li>
  <li class='c064'>Fayoum, <a href='#Page_110'>110</a>, <a href='#Page_113'>113</a>, <a href='#Page_114'>114</a>, <a href='#Page_118'>118</a>, <a href='#Page_120'>120</a></li>
  <li class='c064'><a id='forts'></a>Forts:
    <ul>
      <li>Adda, <a href='#Page_94'>94</a>, <a href='#Page_132'>132</a></li>
      <li>Agame, <a href='#Page_6'>6</a>, <a href='#Page_171'>171</a></li>
      <li>Kait Bey, <a href='#Page_81'>81</a>, <a href='#Page_94'>94</a>, <a href='#Page_133'>133</a>-<a href='#Page_140'>140</a>: <i>see</i> <a href='#pharos'>Pharos</a></li>
      <li>Kait Bey, Aboukir, <a href='#Page_182'>182</a></li>
      <li>Kom-el-Dik <a href='#Page_106'>106</a></li>
      <li>Kom-el-Nadoura (Cafarelli), <a href='#Page_170'>170</a></li>
      <li>Ramleh, Aboukir, <a href='#Page_183'>183</a></li>
      <li>Saba, Aboukir, <a href='#Page_182'>182</a></li>
      <li>St. Julien, Rosetta, <a href='#Page_188'>188</a></li>
      <li>Tewfikieh, Aboukir, <a href='#Page_180'>180</a></li>
    </ul>
  </li>
  <li class='c064'>Foxe, John, visitor, <a href='#Page_82'>82</a></li>
  <li class='c064'>Frazer, General, <a href='#Page_89'>89</a>, <a href='#Page_106'>106</a></li>
  <li class='c064'>French
    <ul>
      <li><i>see</i> <a href='#napoleon'>Napoleon</a></li>
    </ul>
  </li>
  <li class='c064'>French War Memorial, <a href='#Page_156'>156</a></li>
  <li class='c064'>Furness, R. A., v, <a href='#Page_30'>30</a>, <a href='#Page_68'>68</a></li>
  <li class='c024'>Gabbari, <a href='#Page_171'>171</a></li>
  <li class='c064'>Gardens:
    <ul>
      <li>Antoniadis, <a href='#Page_157'>157</a></li>
      <li>Cromer Park, <a href='#Page_154'>154</a></li>
      <li>French, <a href='#Page_102'>102</a></li>
      <li>Municipal, <a href='#Page_154'>154</a></li>
      <li>Nouzha, <a href='#Page_156'>156</a></li>
      <li>Private, <a href='#Page_166'>166</a></li>
    </ul>
  </li>
  <li class='c064'>Gate of the Moon, <a href='#Page_53'>53</a></li>
  <li class='c064'>Gate of the Sun (Rosetta Gate), <a href='#Page_121'>121</a></li>
  <li class='c064'>Gelal ed Din ben Mokram, poet, vi</li>
  <li class='c064'>Geography, Ptolemaic, <a href='#i053'>37</a></li>
  <li class='c064'>Geology of District, <a href='#Page_5'>5</a>-<a href='#Page_6'>6</a></li>
  <li class='c064'>Gnosticism, <a href='#Page_71'>71</a>-<a href='#Page_72'>72</a></li>
  <li class='c064'><span class='pageno' id='Page_223'>223</span>Gospels:
    <ul>
      <li>St. Mark’s, <a href='#Page_72'>72</a></li>
      <li>according to the Egyptians, <a href='#Page_73'>73</a>, <a href='#Page_217'>217</a></li>
      <li>according to the Hebrews, <a href='#Page_73'>73</a>, <a href='#Page_217'>217</a></li>
      <li>uncertain sources, <a href='#Page_217'>217</a></li>
    </ul>
  </li>
  <li class='c064'>Grammar, Greek, <a href='#Page_34'>34</a></li>
  <li class='c064'>Greeks <i>passim</i></li>
  <li class='c024'>Hadra, <a href='#Page_156'>156</a></li>
  <li class='c064'>Hadrian, Emperor, <a href='#Page_45'>45</a></li>
  <li class='c064'>Harbours:
    <ul>
      <li>Eastern, Ancient “Great Harbour,” <a href='#Page_5'>5</a>, <a href='#Page_10'>10</a>, <a href='#Page_140'>140</a></li>
      <li>Western, Ancient “Eunostos,” <a href='#Page_10'>10</a>, <a href='#Page_91'>91</a>, <a href='#Page_129'>129</a></li>
      <li>Prehistoric, <a href='#Page_130'>130</a>-<a href='#Page_132'>132</a></li>
    </ul>
  </li>
  <li class='c064'>Heptastadion, Dyke, <a href='#Page_10'>10</a>, <a href='#Page_20'>20</a>, <a href='#Page_24'>24</a>, <a href='#Page_80'>80</a></li>
  <li class='c064'>Hercules, <a href='#Page_26'>26</a>, <a href='#Page_98'>98</a></li>
  <li class='c064'>Heraclius, Emperor, <a href='#Page_52'>52</a>-<a href='#Page_54'>54</a></li>
  <li class='c064'>Hooker, A. H. <a href='#Page_201'>201</a></li>
  <li class='c064'>Hutchinson, General, <a href='#Page_88'>88</a></li>
  <li class='c064'>Hydrobiologyl, Institute of, <a href='#Page_163'>163</a></li>
  <li class='c064'>Hypatia, philosopher and martyr, <a href='#i053'>37</a>, <a href='#Page_51'>51</a>, <a href='#Page_68'>68</a></li>
  <li class='c064'>Hypsicles, mathematician, <a href='#i053'>37</a></li>
  <li class='c024'>Iras, <a href='#Page_27'>27</a>, <a href='#Page_214'>214</a></li>
  <li class='c064'>Islam, <a href='#Page_53'>53</a>, <a href='#Page_77'>77</a>-<a href='#Page_78'>78</a></li>
  <li class='c064'>Jennings Bramly, W. E., <a href='#Page_194'>194</a></li>
  <li class='c064'>Jews, <a href='#Page_62'>62</a></li>
  <li class='c064'>Jondet, E., <a href='#Page_130'>130</a></li>
  <li class='c064'>Julian, Emperor, <a href='#Page_49'>49</a></li>
  <li class='c024'>Kait Bey, Sultan, <a href='#Page_137'>137</a>-<a href='#Page_139'>139</a></li>
  <li class='c064'>Kom es Chogafa Catacombs, <a href='#i168'>148</a>-<a href='#Page_151'>151</a></li>
  <li class='c024'>Lang, Andrew, <a href='#Page_32'>32</a></li>
  <li class='c064'>Library:
    <ul>
      <li>“Daughter,” <a href='#Page_19'>19</a>, <a href='#Page_50'>50</a>, <a href='#Page_145'>145</a>, <a href='#Page_147'>147</a></li>
      <li>“Mother,” <a href='#Page_18'>18</a>, <a href='#Page_24'>24</a></li>
      <li>Modern, <a href='#Page_107'>107</a></li>
    </ul>
  </li>
  <li class='c064'>Literature, Ptolemaic, <a href='#Page_29'>29</a>-<a href='#Page_34'>34</a></li>
  <li class='c064'>Logos, <a href='#Page_63'>63</a>-<a href='#Page_64'>64</a></li>
  <li class='c064'>Ludolf, G. H., v</li>
  <li class='c024'>Macarius, St., <a href='#Page_201'>201</a>, <a href='#Page_208'>208</a></li>
  <li class='c064'>Mahmoudieh Canal, <a href='#Page_91'>91</a>, <a href='#Page_151'>151</a>, <a href='#Page_171'>171</a></li>
  <li class='c064'>Marabout Island, <a href='#Page_171'>171</a>, <a href='#Page_172'>172</a></li>
  <li class='c064'>Mariout, Lake, <a href='#Page_5'>5</a>, <a href='#Page_87'>87</a>, <a href='#Page_88'>88</a>, <a href='#Page_190'>190</a>, <a href='#Page_191'>191</a></li>
  <li class='c064'>Mark St., <a href='#Page_45'>45</a>, <a href='#Page_81'>81</a></li>
  <li class='c064'>Maronites, <a href='#Page_140'>140</a></li>
  <li class='c064'>Mathematics, Ptolemaic, <a href='#i053'>37</a></li>
  <li class='c064'>McKenna, S. <a href='#Page_67'>67</a></li>
  <li class='c064'>Medicine, Ptolemaic, <a href='#i053'>37</a></li>
  <li class='c064'>Menas, St., <a href='#Page_46'>46</a>, <a href='#Page_195'>195</a></li>
  <li class='c064'>Menelaus, <a href='#Page_7'>7</a></li>
  <li class='c064'><span class='pageno' id='Page_224'>224</span>Mex, <a href='#Page_92'>92</a>, <a href='#Page_171'>171</a></li>
  <li class='c064'>Minet-el-Bassal, <a href='#Page_170'>170</a>-<a href='#Page_171'>171</a></li>
  <li class='c064'>Modern Alexandria, <a href='#Page_90'>90</a>-<a href='#Page_93'>93</a></li>
  <li class='c064'>Modern Religious Communities, <a href='#Page_211'>211</a>-<a href='#Page_213'>213</a></li>
  <li class='c064'>Mohammed, <a href='#Page_53'>53</a></li>
  <li class='c064'>Mohammed Ali, <a href='#Page_88'>88</a>-<a href='#Page_93'>93</a>, <a href='#Page_102'>102</a></li>
  <li class='c064'>Monks, <a href='#Page_50'>50</a>-<a href='#Page_51'>51</a></li>
  <li class='c064'>Monophysism, <a href='#Page_51'>51</a>-<a href='#Page_52'>52</a>, <a href='#Page_76'>76</a>-<a href='#Page_77'>77</a></li>
  <li class='c064'>Monothelism, <a href='#Page_76'>76</a>-<a href='#Page_77'>77</a></li>
  <li class='c064'>Montazah, <a href='#Page_175'>175</a></li>
  <li class='c064'><a id='mosque'></a>Mosques at Alexandria:
    <ul>
      <li>Abou Ali, <a href='#Page_125'>125</a></li>
      <li>Abou el Abbas Moursi, <a href='#Page_126'>126</a></li>
      <li>Amr, <a href='#Page_57'>57</a>, <a href='#Page_144'>144</a></li>
      <li><a id='attarine'></a>Attarine, <a href='#Page_49'>49</a>, <a href='#Page_81'>81</a>, <a href='#Page_143'>143</a></li>
      <li>Bouseiri, <a href='#Page_126'>126</a></li>
      <li>Chorbagi, <a href='#Page_124'>124</a></li>
      <li>Ibrahim Pacha, <a href='#Page_124'>124</a></li>
      <li>Kait Bey, <a href='#Page_139'>139</a></li>
      <li>Prophet Daniel, <a href='#Page_81'>81</a>, <a href='#Page_104'>104</a></li>
      <li>Sidi Bishr, <a href='#Page_166'>166</a></li>
      <li>Sidi Daoud, <a href='#Page_126'>126</a></li>
      <li>Sidi Gaber, <a href='#Page_165'>165</a></li>
      <li>Terbana, <a href='#Page_125'>125</a></li>
      <li>Thousand Columns, <a href='#Page_81'>81</a>, <a href='#Page_170'>170</a></li>
      <li>Yehia, <a href='#Page_166'>166</a></li>
    </ul>
  </li>
  <li class='c064'>Mosques at Rosetta:
    <ul>
      <li>Abou Mandour, <a href='#Page_188'>188</a></li>
      <li>Mohammed el Abbas, <a href='#Page_188'>188</a></li>
      <li>Toumaksis, <a href='#Page_188'>188</a></li>
      <li>Zagloul, <a href='#Page_187'>187</a></li>
    </ul>
  </li>
  <li class='c064'>Mouseion, <a href='#Page_17'>17</a>, <a href='#Page_28'>28</a>-<a href='#Page_29'>29</a>, <a href='#Page_105'>105</a></li>
  <li class='c064'>Mukankas
    <ul>
      <li><i>see</i> <a href='#cyrus'>Cyrus</a></li>
    </ul>
  </li>
  <li class='c064'>Mummies, <a href='#Page_113'>113</a>, <a href='#Page_118'>118</a></li>
  <li class='c064'>Museum, Greco-Roman, <a href='#Page_107'>107</a>-<a href='#Page_121'>121</a>
    <ul>
      <li>under Ptolemies: <i>see</i> Mouseion</li>
    </ul>
  </li>
  <li class='c064'>Mustapha Pacha, <a href='#Page_96'>96</a>, <a href='#Page_165'>165</a></li>
  <li class='c024'>Napier, Sir C., <a href='#Page_89'>89</a>-<a href='#Page_90'>90</a></li>
  <li class='c064'><a id='napoleon'></a>Napoleon, <a href='#Page_86'>86</a>-<a href='#Page_87'>87</a>, <a href='#Page_179'>179</a>-<a href='#Page_180'>180</a></li>
  <li class='c064'>Natrun Monasteries, <a href='#Page_202'>202</a>-<a href='#Page_209'>209</a></li>
  <li class='c064'>Nelson, <a href='#Page_86'>86</a>-<a href='#Page_87'>87</a>, <a href='#Page_177'>177</a>-<a href='#Page_178'>178</a>
    <ul>
      <li>Island, <a href='#Page_177'>177</a>, <a href='#Page_179'>179</a>, <a href='#Page_182'>182</a></li>
    </ul>
  </li>
  <li class='c064'>Neo-Platonism, <a href='#Page_64'>64</a>-<a href='#Page_68'>68</a></li>
  <li class='c064'>New Quays, <a href='#Page_140'>140</a></li>
  <li class='c064'>Nicaea, Council of, <a href='#Page_48'>48</a>, <a href='#Page_106'>106</a></li>
  <li class='c064'>Nicene Creed, <a href='#Page_49'>49</a>, <a href='#Page_218'>218</a></li>
  <li class='c064'>Nicopolis, <a href='#Page_44'>44</a>, <a href='#Page_165'>165</a></li>
  <li class='c064'><span class='pageno' id='Page_225'>225</span>Nile, <a href='#Page_5'>5</a>., <a href='#Page_188'>188</a></li>
  <li class='c064'>Norden, Captain, <a href='#Page_82'>82</a>, <a href='#Page_84'>84</a></li>
  <li class='c064'>Nouzha, <a href='#Page_156'>156</a>-<a href='#Page_157'>157</a></li>
  <li class='c064'>Nubar Pacha, <a href='#Page_143'>143</a>, <a href='#Page_155'>155</a></li>
  <li class='c024'><a id='octavian'></a>Octavian, Emperor, <a href='#Page_25'>25</a>-<a href='#Page_27'>27</a>, <a href='#Page_44'>44</a></li>
  <li class='c064'>Ophites, <a href='#Page_71'>71</a></li>
  <li class='c064'>Origen, Theologian, <a href='#Page_46'>46</a>, <a href='#Page_73'>73</a>-<a href='#Page_74'>74</a></li>
  <li class='c064'>Osiris, <a href='#Page_18'>18</a>
    <ul>
      <li><i>see</i> <a href='#temples'>Temples</a></li>
    </ul>
  </li>
  <li class='c024'>Palace, Ptolemaic, <a href='#Page_23'>23</a>, <a href='#Page_24'>24</a>, <a href='#Page_28'>28</a>, <a href='#Page_29'>29</a>, <a href='#Page_162'>162</a>
    <ul>
      <li>Ras-el-Tin, <a href='#Page_129'>129</a></li>
    </ul>
  </li>
  <li class='c064'>Paneum, <a href='#Page_106'>106</a></li>
  <li class='c064'>Paris and Helen, <a href='#Page_176'>176</a></li>
  <li class='c064'>Patriarchates, <a href='#Page_52'>52</a></li>
  <li class='c064'>Persians, <a href='#Page_8'>8</a>, <a href='#Page_53'>53</a></li>
  <li class='c064'><a id='pharos'></a>Pharos Island, <a href='#Page_6'>6</a>, <a href='#Page_24'>24</a>, <a href='#Page_80'>80</a>
    <ul>
      <li>Lighthouse, <a href='#Page_16'>16</a>, <a href='#Page_133'>133</a>-<a href='#Page_140'>140</a>: <i>see</i> <a href='#forts'>Fort Kait Bey</a></li>
    </ul>
  </li>
  <li class='c064'>Philo <a href='#Page_63'>63</a>, <a href='#Page_64'>64</a>, <a href='#Page_66'>66</a></li>
  <li class='c064'>Philosophy under Ptolemies, <a href='#Page_36'>36</a>
    <ul>
      <li>Jewish, <a href='#Page_62'>62</a></li>
      <li>Neo-Platonic, <a href='#Page_64'>64</a>-<a href='#Page_68'>68</a></li>
    </ul>
  </li>
  <li class='c064'>Place Mohammed Ali
    <ul>
      <li><i>see</i> <a href='#square'>Square</a></li>
    </ul>
  </li>
  <li class='c064'>Place Said, <a href='#Page_154'>154</a></li>
  <li class='c064'>Place St. Catherine, <a href='#Page_142'>142</a></li>
  <li class='c064'>Plato, <a href='#Page_64'>64</a></li>
  <li class='c064'>Plotinus, <a href='#Page_65'>65</a>-<a href='#Page_68'>68</a></li>
  <li class='c064'>Plutarch, <a href='#Page_214'>214</a></li>
  <li class='c064'>Pocock, R., visitor, <a href='#Page_84'>84</a></li>
  <li class='c064'><a id='pompey'></a>Pompey, <a href='#Page_23'>23</a>
    <ul>
      <li>“Pillar,” <a href='#Page_46'>46</a>, <a href='#Page_145'>145</a>-<a href='#Page_146'>146</a></li>
      <li>“Tomb,” <a href='#Page_155'>155</a></li>
    </ul>
  </li>
  <li class='c064'>Porphyry, philosopher, <a href='#Page_68'>68</a></li>
  <li class='c064'>Proteus, <a href='#Page_7'>7</a></li>
  <li class='c064'>Pschoi, St., <a href='#Page_205'>205</a></li>
  <li class='c064'>Ptolemies, <a href='#Page_11'>11</a>-<a href='#Page_27'>27</a>
    <ul>
      <li>Civilisation under, <a href='#Page_16'>16</a>-<a href='#Page_21'>21</a>, <a href='#Page_27'>27</a>-<a href='#Page_42'>42</a></li>
      <li>Genealogical Tree, <a href='#Page_12'>12</a>-<a href='#Page_13'>13</a></li>
    </ul>
  </li>
  <li class='c064'>Ptolemy I, <a href='#Page_11'>11</a>
    <ul>
      <li>II, <a href='#Page_14'>14</a>, <a href='#Page_36'>36</a></li>
      <li>III, <a href='#Page_15'>15</a>, <a href='#Page_185'>185</a></li>
      <li>IV, <a href='#Page_21'>21</a></li>
      <li>VII, <a href='#Page_21'>21</a></li>
      <li>XIII, <a href='#Page_22'>22</a>,</li>
      <li>XIV, <a href='#Page_23'>23</a>-<a href='#Page_25'>25</a></li>
      <li>XV, <a href='#Page_25'>25</a></li>
      <li>XVI, (Caesarion) <a href='#Page_26'>26</a></li>
      <li>Claudius, the astronomer, <a href='#i054'>39</a>, <a href='#Page_40'>40</a>, <a href='#Page_41'>41</a></li>
    </ul>
  </li>
  <li class='c024'><span class='pageno' id='Page_226'>226</span>Ramleh, <a href='#Page_87'>87</a>, <a href='#Page_92'>92</a>, <a href='#Page_166'>166</a></li>
  <li class='c064'>Ras-el-Tin Peninsula, <a href='#Page_6'>6</a>, <a href='#Page_80'>80</a>, <a href='#Page_129'>129</a>
    <ul>
      <li>Palace, <a href='#Page_89'>89</a>, <a href='#Page_91'>91</a>, <a href='#Page_129'>129</a></li>
    </ul>
  </li>
  <li class='c064'>Religion:
    <ul>
      <li>Alexandrian, <a href='#Page_19'>19</a>, <a href='#Page_70'>70</a></li>
      <li>Ancient Egyptian, <a href='#Page_18'>18</a>, <a href='#Page_69'>69</a></li>
      <li>Early Christian, <a href='#Page_70'>70</a>-<a href='#Page_78'>78</a></li>
      <li>Jewish, <a href='#Page_62'>62</a></li>
      <li>Mohammedan, <a href='#Page_77'>77</a>-<a href='#Page_78'>78</a></li>
      <li>Modern, <a href='#Page_211'>211</a>-<a href='#Page_213'>213</a></li>
    </ul>
  </li>
  <li class='c064'>Rhakotis, <a href='#Page_7'>7</a>, <a href='#Page_145'>145</a></li>
  <li class='c064'>Rome, <a href='#Page_21'>21</a>-<a href='#Page_22'>22</a>, <a href='#Page_44'>44</a>-<a href='#Page_45'>45</a></li>
  <li class='c064'>Rosetta, <a href='#Page_185'>185</a>-<a href='#Page_188'>188</a>
    <ul>
      <li>Stone, <a href='#Page_185'>185</a></li>
    </ul>
  </li>
  <li class='c064'>Rosette, <span lang="fr" xml:lang="fr">Rue</span>, <a href='#Page_104'>104</a>, <a href='#Page_107'>107</a>-<a href='#Page_121'>121</a></li>
  <li class='c024'>Salt, Henry, consul, <a href='#Page_90'>90</a>, <a href='#Page_144'>144</a></li>
  <li class='c064'>Sandys, John, visitor, <a href='#Page_82'>82</a></li>
  <li class='c064'>San Stefano, <a href='#Page_166'>166</a></li>
  <li class='c064'>Scholarship, Ptolemaic, <a href='#Page_34'>34</a>-<a href='#Page_35'>35</a></li>
  <li class='c064'>Science, Ptolemaic, <a href='#Page_36'>36</a>-<a href='#Page_42'>42</a></li>
  <li class='c064'>Septuagint, <a href='#Page_62'>62</a></li>
  <li class='c064'>Serapis,, <a href='#Page_18'>18</a>, <a href='#Page_45'>45</a>, <a href='#Page_117'>117</a>
    <ul>
      <li><i>see</i> <a href='#temples'>Temples</a></li>
    </ul>
  </li>
  <li class='c064'>Seymour, Admiral, <a href='#Page_94'>94</a>-<a href='#Page_96'>96</a></li>
  <li class='c064'>Shakespeare’s “Antony and Cleopatra,” 214-<a href='#Page_215'>215</a></li>
  <li class='c064'>Sidi Gaber, <a href='#Page_165'>165</a></li>
  <li class='c064'>Silsileh, <a href='#Page_6'>6</a>, <a href='#Page_162'>162</a>, <a href='#Page_163'>163</a></li>
  <li class='c064'>Soma, Street of, <a href='#Page_10'>10</a>
    <ul>
      <li>Tomb, <a href='#Page_19'>19</a>, <a href='#Page_105'>105</a>: <i>see</i> <a href='#mosque'>Mosque</a>, <a href='#daniel'>Prophet Daniel</a></li>
    </ul>
  </li>
  <li class='c064'>Sostratus, engineer, <a href='#Page_133'>133</a></li>
  <li class='c064'>Sporting Club, <a href='#Page_164'>164</a></li>
  <li class='c064'>Spouting Rocks, <a href='#Page_166'>166</a></li>
  <li class='c064'><a id='square'></a>Square (Place, Mohammed Ali), <a href='#Page_102'>102</a></li>
  <li class='c064'>Stanley Bay, <a href='#Page_166'>166</a></li>
  <li class='c064'>Statuettes, Terra Cotta, <a href='#Page_118'>118</a></li>
  <li class='c064'>Stratonice, <a href='#Page_28'>28</a></li>
  <li class='c064'>Synagogue, Chief, <a href='#Page_161'>161</a></li>
  <li class='c024'>Taposiris Magna
    <ul>
      <li><i>see</i> <a href='#abousir'>Abousir</a></li>
    </ul>
  </li>
  <li class='c064'>Taposiris Parva, <a href='#Page_175'>175</a></li>
  <li class='c064'><a id='temples'></a>Temples:
    <ul>
      <li>Aphrodite on Zephyrium, <a href='#Page_182'>182</a></li>
      <li>Apollo, <a href='#Page_106'>106</a></li>
      <li>Caesareum, <a href='#Page_49'>49</a>, <a href='#Page_161'>161</a></li>
      <li>Isis Pharia, <a href='#Page_126'>126</a></li>
      <li>Isis near Serapeum, <a href='#Page_147'>147</a></li>
      <li>Isis on Silsileh, <a href='#Page_20'>20</a></li>
      <li>Osiris, Abousir, <a href='#Page_192'>192</a></li>
      <li><span class='pageno' id='Page_227'>227</span>Petesouchos Fayoum, <a href='#Page_114'>114</a>, <a href='#Page_120'>120</a></li>
      <li>Poseidon, <a href='#Page_136'>136</a></li>
      <li>Serapis, Rhakotis, <a href='#Page_146'>146</a>: <i>see</i> <a href='#pompey'>Pompey’s Pillar</a></li>
      <li>Serapis, Canopus, <a href='#Page_181'>181</a></li>
      <li>Serapis, small, <a href='#Page_144'>144</a></li>
    </ul>
  </li>
  <li class='c064'>Theatre, Ancient, <a href='#Page_20'>20</a>, <a href='#Page_24'>24</a>, <a href='#Page_162'>162</a>
    <ul>
      <li>Modern, <a href='#Page_154'>154</a></li>
    </ul>
  </li>
  <li class='c064'>Theocritus, XVth Idyll, <a href='#Page_31'>31</a>-<a href='#Page_34'>34</a></li>
  <li class='c064'>Theon, mathematician, <a href='#i053'>37</a>, <a href='#Page_68'>68</a></li>
  <li class='c064'>Theonas, St., <a href='#Page_46'>46</a></li>
  <li class='c064'>Theophilus, patriarch, <a href='#Page_50'>50</a></li>
  <li class='c064'><a id='tombs'></a>Tombs:
    <ul>
      <li>Alexander the Great (Soma) <a href='#Page_19'>19</a>, <a href='#Page_105'>105</a></li>
      <li>Anfouchi Catacombs, <a href='#Page_126'>126</a>-<a href='#Page_129'>129</a></li>
      <li>Antique, near Antoniadis’ Gardens, <a href='#Page_157'>157</a></li>
      <li>Antique, Chatby, <a href='#Page_164'>164</a></li>
      <li>Antique (Pompey’s?), <a href='#Page_155'>155</a></li>
      <li>Brice, Colonel, <a href='#Page_106'>106</a></li>
      <li>Cleopatra, <a href='#Page_20'>20</a></li>
      <li>Khedivial Family, <a href='#Page_105'>105</a></li>
      <li>Kom es Chogafa Catacombs, <a href='#i168'>148</a></li>
      <li>Nubar Pacha, <a href='#Page_143'>143</a></li>
      <li>Said Mohammed, <a href='#Page_143'>143</a></li>
      <li>Salt, Henry, <a href='#Page_144'>144</a></li>
      <li>Sidi Abou el Fath, <a href='#Page_126'>126</a></li>
      <li>Sidi et Metwalli, <a href='#Page_142'>142</a></li>
      <li>Zagloul and Said Hassan, Rosetta, <a href='#Page_187'>187</a></li>
    </ul>
  </li>
  <li class='c064'>Town-planning, Ancient, <a href='#Page_9'>9</a>-<a href='#Page_11'>11</a>, <a href='#Page_16'>16</a>-<a href='#Page_20'>20</a>
    <ul>
      <li>Modern, <a href='#Page_90'>90</a>-<a href='#Page_93'>93</a></li>
    </ul>
  </li>
  <li class='c064'>Turkey, <a href='#Page_81'>81</a>-<a href='#Page_82'>82</a>, <a href='#Page_179'>179</a></li>
  <li class='c064'>Turkish Town, <a href='#Page_124'>124</a>-<a href='#Page_126'>126</a></li>
  <li class='c024'>Valens, Emperor, <a href='#Page_49'>49</a></li>
  <li class='c064'>Valentinus, gnostic, <a href='#Page_71'>71</a>-<a href='#Page_72'>72</a></li>
  <li class='c064'>Venetians, <a href='#Page_81'>81</a></li>
  <li class='c064'>Victoria College, <a href='#Page_166'>166</a></li>
  <li class='c024'>Wady Natrun, <a href='#Page_200'>200</a>-<a href='#Page_209'>209</a></li>
  <li class='c064'>Water system, <a href='#Page_5'>5</a>, <a href='#Page_9'>9</a>-<a href='#Page_10'>10</a>, <a href='#Page_80'>80</a>, <a href='#Page_87'>87</a>, <a href='#Page_91'>91</a></li>
  <li class='c064'>Wildflowers, <a href='#Page_191'>191</a></li>
  <li class='c064'>“Wisdom of Solomon,” 62-<a href='#Page_63'>63</a></li>
  <li class='c064'>Wolseley, General, <a href='#Page_96'>96</a></li>
  <li class='c024'>Zenodotus, scholar and poet, <a href='#Page_34'>34</a></li>
  <li class='c064'>Zephyrium, promontory, <a href='#Page_182'>182</a></li>
</ul>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<p class='c012'><span class='pageno' id='Page_228'>228</span>&nbsp;</p>
<div id='alexmap'  class='figcenter id001'>
<a href='images/i247h.jpg'><img src='images/i247.jpg' alt='' class='ig001' /></a>
<div class='ic003'>
<p>PLAN OF <span class='large'>ALEXANDRIA</span><br /><span class='small'>(Click on the map to see a higher-resolution version.)</span></p>
</div>
</div>
<div class='pbb'>
 <hr class='pb c003' />
</div>
<p class='c012'>&nbsp;</p>
<div class='tnbox'>

 <ul class='ul_1 c024'>
    <li>Transcriber’s Notes:
      <ul  class='ul_2'>
        <li>A higher resolution color map of Alexandria has been added to the book. Click on the
        map to see the higher-resolution version.
        </li>
        <li>Missing or obscured punctuation was corrected.
        </li>
        <li>Unbalanced quotation marks were left as the author intended.
        </li>
        <li>Typographical errors were silently corrected.
        </li>
        <li>Inconsistent spelling and hyphenation were made consistent only when a predominant
        form was found in this book.
        </li>
      </ul>
    </li>
  </ul>

</div>


<div>*** END OF THE PROJECT GUTENBERG EBOOK 57010 ***</div>

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