Farewell Shiraz Reviews

After its conquest by Alexander the Great in 332 bc, Egypt was ruled for the next 300 years by the Ptolemaic dynasty founded by Ptolemy I, one of Alexander’s generals. With the defeat of Cleopatra VII in 30 bc, Egypt became a province of the Roman Empire, and later of the Byzantine Empire. For a millennium it was one of the wealthiest, most populous and important lands of the multicultural Mediterranean civilization under Greek and Roman rule. The thousand years from Alexander to the Arab conquest in ad 641 are rich in archaeological interest and well documented by 50,000 papyri in Greek, Egyptian, Latin, and other languages. But travelers and others interested in the remains of this period are ill-served by most guides to Egypt, which concentrate on the pharaonic buildings. This book redresses the balance, with clear and concise descriptions related to documents and historical background that enable us to appreciate the fascinating cities, temples, tombs, villages, churches, and monasteries of the Hellenistic, Roman, and Late Antique periods. Written by a dozen leading specialists and reflecting the latest discoveries and research, it provides an expert visitor’s guide to the principal cities, many off the well-worn tourist paths. It also offers a vivid picture of Egyptian society at differing economic and social levels.

Yuhanna al-Armani has long been known by historians of Coptic art as an eighteenth-century Armenian icon painter who lived and worked in Ottoman Cairo. Here for the first time is an account of his life that looks beyond his artistic production to place him firmly in the social, political, and economic milieu in which he moved and the confluence of interests that allowed him to flourish as a painter. Who was Yuhanna al-Armani? What was his network of relationships? How does this shed light on the contacts between Cairo’s Coptic and Armenian communities in the eighteenth century? Why was there so much demand for his work at that particular time? And how did a member of Cairo’s then relatively modest Armenian community reach such heights of artistic and creative endeavor? Drawing on eighteenth-century deeds relating to al-Armani and other members of his social network recorded in the registers of the Ottoman courts, Magdi Guirguis offers a fascinating glimpse into the ways of life of urban dwellers in eighteenth-century Cairo, at a time when a civilian elite had reached a high level of prominence and wealth. Illustrated with 28 full-color reproductions of al-Armani’s icons, An Armenian Artist in Ottoman Egypt is a rich and compelling window on Cairene social history that will interest students and scholars of art history, Coptic studies, or Ottoman history.