The provenance of most Coptic textiles and minor works of art is usually unknown, but Coptic sculpture and wall paintings are better documented. The most important sites for these items are Abu Mina, Saqqara, Ahnas, Oxyrhynchos, Antinoe and Bawit. Nevertheless, many of the excavations that unearthed these items took place in the 19th century, and were therefore not as well documented as one might suppose. Furthermore, the re-use of older architectural elements, often from pharaonic monuments, makes exact dating of Coptic sculpture difficult.

 

 

 

 

The majority of the monuments from which this collection was taken are in ruins. Mostly, architectural carvings, separate from their original context, including niches, pediments, friezes, lintels, consoles, columns and capitals, make of this exhibit. All of it was originally painted.

 

 

During the 4th and 5th centuries pagan mythological scenes, such as Orpheus and Eurydice or Leda and the swan, continued to be depicted alongside Christian themes. The cross, supported by erotes or angels, is a central element of Coptic sculpture. Often, scenes of the christological cycle appear isolated, such as the Madonna and Child and the Holy Virgin with the saints. Scenes from the Old Testament are also frequently incorporated into sculpture. Examples include Daniel flanked by two lions or the Three Hebrews in the Fiery Furnace. On the other hand, at the monastic sites of Bawit and Saqqara there was a clear tendency towards geometric and floral architectural sculpture with niches and friezes. Also, aspects of daily life, such as the grape harvest or fishing in the marshes, are not uncommon in Coptic sculpture.