Side by side with the marble sarcophagus, or those of coarser stone, were wooden coffins and mummy-cases, with a place at the head for the portrait of the deceased. Vases and jars of every kind, amulets of various forms, spices and balsams in vials and boxes, little images in burned clay of the gods and of men, of which none but the Egyptians knew the allegorical meaning, stood in long rows on low wooden shelves. On the higher shelves were mummy bands and shrouds, some coarse, others of the very finest texture, wigs for the bald heads of shaven corpses, or woolen fillets, and simply or elaborately embroidered ribbons for the Greek dead. Nothing was lacking of the various things in use for decking the corpse of an Alexandrian, whatever his race or faith. Some mummy-cases, too, were there, ready to be packed off to other towns. The most costly were covered with fine red linen, wound about with strings of beads and gold ornaments, and with the name of the dead painted on the upper side. In a long, narrow room apart hung the portraits, waiting to be attached to the upper end of the mummy-cases of those lately deceased, and still in the hands of embalmers. Here, too, most of the lamps were out, and the upper end of the room was already dark. Only in the middle, where the best pictures were on show, the lights had been renewed. The portraits were painted on thin panels of sycamore or of cypress, and in most of them the execution betrayed that their destiny was to be hidden in the gloom of a tomb. Alexander’s portrait of Korinna was in the middle of the gallery, in a good light, and stood out from the paintings on each side of it as a genuine emerald amid green glass. It was constantly surrounded by a crowd of the curious and connoisseurs. They pointed out the beautiful work to each other; but, though most of them acknowledged the skill of the master who had painted it, many ascribed its superiority to the magical charm of the model. One could see in those wonderfully harmonious features that Aristotle was right when he discerned beauty in order and proportion; while another declared that he found there the evidence of Plato’s doctrine of the identity of the good and the beautiful--for this face was so lovely because it was the mirror of a soul which had been disembodied in the plenitude of maiden purity and virtue, unjarred by any discord; and this gave rise to a vehement discussion as to the essential nature of beauty and of virtue.