A nostalgic, gorgeously illustrated anthology of nineteenth and twentieth century writing on Alexandria At the end of the eighteenth century, the city of Alexandria was a small backwater with a population of less than five thousand. Then in 1801 Muhammad Ali arrived in Egypt as second‐in‐command of an Albanian contingent, part of an Ottoman force sent to re‐occupy the country after Napoleon Bonaparte's invasion in 1798. By 1805, Ali had become ruler of Egypt and in a short time, he built a new modern cosmopolitan Alexandria--a thriving commercial hub and court city, the country's unofficial capital, and home to a large number of immigrants from the surrounding Mediterranean. Alexandrea ad Ægyptum, the old Latin adage meaning "Alexandria by Egypt," re‐emerged, underlining Alexandria's singular separateness. Foreign dominance was further reinforced by British colonialism beginning in 1882, until 26 July 1956, when, from the parapet of the Bourse on Muhammad Ali Square in Alexandria, Gamal Abd al-Nasser announced the nationalization of the Suez Canal. As the city's sizeable foreign community left, following the Suez War then through waves of nationalization, the international Alexandria ceased to exist. This beautifully illustrated anthology brings together the work of contemporaneous writers who witnessed the stages of Alexandria's dramatic rise and growth during the nineteenth and early- to mid-twentieth centuries.

This masterful history of the monumental architecture of Alexandria, as well as of the rest of Egypt, encompasses an entire millennium—from the city’s founding by Alexander the Great in 331 B.C. to the years just after the Islamic conquest of A.D. 642. Long considered lost beyond recall, the architecture of ancient Alexandria has until now remained mysterious. But here Judith McKenzie shows that it is indeed possible to reconstruct the city and many of its buildings by means of meticulous exploration of archaeological remains, written sources, and an array of other fragmentary evidence. The book approaches its subject at the macro- and the micro-level: from city-planning, building types, and designs to architectural style. It addresses the interaction between the imported Greek and native Egyptian traditions; the relations between the architecture of Alexandria and the other cities and towns of Egypt as well as the wider Mediterranean world; and Alexandria’s previously unrecognized role as a major source of architectural innovation and artistic influence. Lavishly illustrated with new plans of the city in the Ptolemaic, Roman, and Byzantine periods; reconstruction drawings; and photographs, the book brings to life the ancient city and uncovers the true extent of its architectural legacy in the Mediterranean world.

Using vintage photographs from the second half of the nineteenth century and first half of the twentieth, many of them from private family albums, this book brings to life the world of that vanished Alexandria, a vibrant, stylish, and cosmopolitan city, the largest port in the Mediterranean, that was the prosperous gateway between Egypt and the world. Seen here in the setting of their homes and gardens, and on the city's streets and beaches, the faces of those forgotten Alexandrians come to life: the Greeks, Italians, Jews, and all those others from around the Mediterranean whose energy and expertise helped modernize and develop Egypt, and who planted their family roots in the city. This was the luxuriant and evocative city celebrated by Constantine Cavafy, E.M. Forster, and Lawrence Durrell, and they too are included in these pages along with photographs of scenes and people that were familiar to them. Vintage Alexandria traces the development and growth of the city, follows its story through the dramatic events of two world wars, and above all provides a background to the city's place in twentieth-century cultural history, through the eyes of Alexandria's cosmopolitan citizens themselves. Those citizens and others who passed through the city and appear in these pages included Antony Benaki (the Greek cotton trader whose collection formed the basis of the famous Benaki Museum in Athens), Robert Koch (who isolated the cholera virus and developed a vaccine in an Alexandria laboratory), the Greek children's writer Penelope Delta, Claude Vincendon (the third wife of Lawrence Durrell), King Victor Emanuel III of Italy, Eve Cohen (the second wife of Lawrence Durrell, and the model for "Justine"), Safinaz Zulfikar (later married to King Farouk as Queen Farida), Rudolph Hess (Hitler's deputy, who attended school in Alexandria), Jean de Menasce (the "best translator" of T.S. Eliot), Manfred von Richthofen (the Red Baron), the Egyptian film director Youssef Chahine, the Egyptian and international film star Omar Sharif, King Hussein of Jordan, Rhona Haszard (the post-impressionist painter), Ahmed Hassanein Pasha (the Egyptian explorer and diplomat), and Noel Coward (the English writer and wit, who sang at the Fleet Club in Alexandria and was mobbed by sailors).

The eleven short stories in this book take us back to an Alexandria past, the cosmopolitan city as it was experienced by the author in the years before, during, and following the Second World War. Against a backdrop of major events in Alexandria's history, from the halcyon days of the late 1930s, through the alarums of the War, to the 1952 Revolution and the dispersion of almost the entire foreign community of the city, Tzalas weaves his stories peopled with characters from his youth. These are ordinary people, people of different nationalities and faiths, but all Alexandrians, living side by side in the Great City. In describing each character with great sensitivity and perception, Tzalas succeeds not only in capturing the essence of the city itself, but in poignantly foretelling the fundamental changes and exodus that were to come. The events surrounding, among others, a German family caught in the city during the Second World War, three French monks, an old Greek musician, and a group of cultivated elderly Alexandrian gentlemen, are told with an affection often tinged with sadness. Through these characters, Tzalas tells the story of everyday lives caught up in the turbulent currents of history and the transformation of a beloved city the end of an era. Each of the eleven stories is accompanied by an evocative illustration by Anna Boghiguian.

First published in 1844, The Englishwoman in Egypt is the collected observations of Sophia Poole, who lived in Cairo from 1842 until 1849 with her brother, the well known Orientalist Edward Lane, and her two children. During her residence, Poole learned Arabic and adopted Egyptian clothing that enabled her not only to observe day-to-day life in the streets and markets but also to enter hammams and harems and interact on an intimate level with Egyptian women of different classes. Poole ultimately had access, in fact, to the highest levels of society, including the family of the viceroy Mohamed Ali Pasha, and recorded her experiences there with the same eye for detail and understanding of underlying customs as she brought to bear in the marketplace. She moves effortlessly from situation to situation--the pasha's daughter smoking her jewel-encrusted pipe, the homesick slave-girl, the occupation of ladies of leisure--one scene after another is unfolded in her writing that reveals not only a mind that observes and records but a human being who attempts to feel and understand a different culture. In contrast to her brother's dense works of research, Sophia Poole's was cast in the form of letters to a friend. These letters cover her arrival in Alexandria and trip up the Nile to Cairo, as well as her life in Cairo, with its visits to surrounding villages. The Englishwoman in Egypt is at once entertaining and informative. If Edward Lane kept alive for posterity a post-medieval Cairo that has since disappeared, then his sister in her work no doubt complemented that great achievement by presenting the same world from a feminine perspective that he as a man could not have access to.

Eventually, Haas concludes, Alexandrian society achieved a certain stability and reintegration--a process that resulted in the transformation of Alexandrian civic identity during the crucial centuries between antiquity and the Middle Ages.

The history of the struggles for control over Egypt's antiquities, and their repercussions, during a period of intense national ferment The sensational discovery in 1922 of Tutankhamun’s tomb, close on the heels of Britain’s declaration of Egyptian independence, accelerated the growth in Egypt of both Egyptology as a formal discipline and of ‘pharaonism'—popular interest in ancient Egypt—as an inspiration in the struggle for full independence. Emphasizing the three decades from 1922 until Nasser’s revolution in 1952, this compelling follow-up to Whose Pharaohs? looks at the ways in which Egypt developed its own archaeologies—Islamic, Coptic, and Greco-Roman, as well as the more dominant ancient Egyptian. Each of these four archaeologies had given birth to, and grown up around, a major antiquities museum in Egypt. Later, Cairo, Alexandria, and Ain Shams universities joined in shaping these fields. Contesting Antiquity in Egypt brings all four disciplines, as well as the closely related history of tourism, together in a single engaging framework. Throughout this semi-colonial era, the British fought a prolonged rearguard action to retain control of the country while the French continued to dominate the Antiquities Service, as they had since 1858. Traditional accounts highlight the role of European and American archaeologists in discovering and interpreting Egypt’s long past. Donald Reid redresses the balance by also paying close attention to the lives and careers of often-neglected Egyptian specialists. He draws attention not only to the contests between westerners and Egyptians over the control of antiquities, but also to passionate debates among Egyptians themselves over pharaonism in relation to Islam and Arabism during a critical period of nascent nationalism. Drawing on rich archival and published sources, extensive interviews, and material objects ranging from statues and murals to photographs and postage stamps, this comprehensive study by one of the leading scholars in the field will make fascinating reading for scholars and students of Middle East history, archaeology, politics, and museum and heritage studies, as well as for the interested lay reader.

This book is a literary, social, and political portrait of Alexandria at a high point of its history. Drawing on diaries, letters, and interviews, Michael Haag recovers the lost life of the city, its cosmopolitan inhabitants, and its literary characters. Located on the coast of Africa yet rich in historical associations with Western civilization, Alexandria was home to an exotic variety of people whose cosmopolitan families had long been rooted in the commerce and the culture of the entire Mediterranean world. Alexandria famously excited the imaginations of writers, and Haag folds intimate accounts of E. M. Forster, Greek poet Constantine Cavafy, and Lawrence Durrell into the story of its inhabitants. He recounts the city’s experience of the two world wars and explores the communities that gave Alexandria its unique flavor: the Greek, the Italian, and the Jewish. The book deftly harnesses the sexual and emotional charge of cosmopolitan life in this extraordinary city, and highlights the social and political changes over the decades that finally led to Nasser’s Egypt.

Sage, scientist, and sorcerer, Hermes Trismegistus was the culture-hero of Hellenistic and Roman Egypt. A human (according to some) who had lived about the time of Moses, but now indisputably a god, he was credited with the authorship of numerous books on magic and the supernatural, alchemy, astrology, theology, and philosophy. Until the early seventeenth century, few doubted the attribution. Even when unmasked, Hermes remained a byword for the arcane. Historians of ancient philosophy have puzzled much over the origins of his mystical teachings; but this is the first investigation of the Hermetic milieu by a social historian. Starting from the complex fusions and tensions that molded Graeco-Egyptian culture, and in particular Hermetism, during the centuries after Alexander, Garth Fowden goes on to argue that the technical and philosophical Hermetica, apparently so different, might be seen as aspects of a single "way of Hermes." This assumption that philosophy and religion, even cult, bring one eventually to the same goal was typically late antique, and guaranteed the Hermetica a far-flung readership, even among Christians. The focus and conclusion of this study is an assault on the problem of the social milieu of Hermetism.