of Alexander’s Oikoumene and of the Roman Empire, was just a natural sequence and became a vital element of the common western consciousness. This ideology was well reflected in the cover of the Antiquities volume of Description de l’Egypte, where Napoleon Banaparte is portrayed as Alexander the Great or a Roman emperor on his chariot, while the conquered people kneel before him, and the names of the conquered lands are inscribed on typical emblems of the Roman Empire. It is also known that, like Alexander the Great, Napoleon carried with him a copy of Illiad, Xenophon’s Anabasis and Plutarch’s Parallel Lives.116 Graeco-Roman Alexandria had a direct and indirect impact to the cosmopolitan period. The official title of Roman Alexandria as ad Aegypum –nearby Egypt, but not in Egypt- offered a kind of symbolic validation to the autonomous status of the cosmopolitan city (until 1956) and an ideological background to its society. Hence, Alexandrians saw themselves as the ‘legitimated’ successors of the glorious legacy of the city. Public architecture and monuments were dominated by revivalistic styles, notably neo-classical.
Such trends are relfected in the topography of the city, where districts and streets were named after important historical figures, not only of ancient Alexandria, but also of the wider Greek culture and history. Therefore, two districts, one to the east and another to the west side of the city, were named after the last of the Ptolemies, Cleopatra and Cleopatra’s Baths respectively. In the heart of the city, there is the Greek Quarter, next to the Latin Quarter, between the present day parallel avenues of 116
Budge, 1906, 411-412.