The theme of cultural intersection in Ptolemaic and Roman-period Egypt has recently captured scholarly attention, particularly that of philologists and historians. Jacco Dieleman’s Priests, Tongues, and Rites: The London-Leiden Magical Manuscripts and Translation in Egyptian Ritual (100–300 CE) (Leiden: Brill, 2005), for example, and Susan Stephens’s Seeing Double: Intercultural Poetics in Ptolemaic Alexandria (Berkeley: University of California Press, 2003) underscore the interlaced debt of Greeks and Egyptians. And with scarce exception, the articles in the often-cited Life in a Multi-cultural Society: Egypt from Cambyses to Constantine and Beyond (edited by Janet H. Johnson; Chicago: The Oriental Institute, 1992) also rely on textual or epigraphic evidence to make their point. In contrast, the ramifications of cross-cultural interchange in Graeco-Roman Egypt have occupied the attention of but the rare art historian. In fact, with the singular exception of monumental architecture built by the foreign conqueror, “Egyptian” visual culture during the period of Roman domination has been generally ill-served. Classical art historians search out shades of Greek stylistic influence in Roman-period Egypt—embodied best, perhaps, in the well-known “Fayum” mummy portraits—and Egyptologists most often focus on Egypt’s efflorescence in the pharaonic period, only occasionally straying into the immediately post-pharaonic Late Period (as did Bernard...