In a wall-mounted showcase towards the end of the permanent exhibition "Thessaloniki, the Metropolis of Macedonia" stands a small sphinx made of black basalt, gazing serenely at the visitor. Although time has left its indelible marks, its "exotic" origin is immediately apparent from the Egyptian features of the figure.
The small sphinx (ΜΘ 4922) was discovered in 1921 during an excavation in the center of Thessaloniki, prompted by the opening of the avenue "Karaoli and Dimitriou of the Cypriots" (formerly known as Dioikitiriou). It is indeed a matter of curiosity how a sphinx from ancient Egypt ended up in Thessaloniki. Why did it need to travel so far, and who transported it?
Although the sculpture has suffered damage and losses (the rear part of the torso and the lower part of the front legs are missing), or breaks and scratches have damaged the head and the surviving body, it still preserves significant morphological features for its interpretation.
Iconographically, the sphinx is a composition of various elements. It has a human head with female features, a lion's body, and a tail which, although not preserved, likely ended in a snake's head, probably a cobra. The sphinx is depicted standing, in a striding position, with the left front leg extended and the head steadily looking in the direction it is moving. Her eyes were inlaid, made of a different material, and the features of her youthful face exude calmness. She wears on her head a long tripartite wig and a relief band. At the top of the skull, a dowel hole served to secure a crown. A garment resembling an apron covers the chest and a significant part of the legs.
Based on the iconographic elements, the sculpture is believed to depict the Egyptian god Tutu. The son of the goddess Neith, Tutu is a god with many attributes. Known as the all-powerful victor and divine king, he is portrayed with lion-like features or as a lion, the traditional symbol of the pharaohs' strength. The royal nature of the god is emphasized by the pharaonic emblems, such as the nemes (striped head dress), the double or tnἰ crown, the beard, and the cobra (uraeus), while his warlike nature is often highlighted with weapons, wild animals, or military garments. Particularly significant is his ability to master demons, the sun and the moon, as well as the fate of humans. He is a guardian god, a Benevolent Demon (Shay), who grants longevity to humans and protects them from diseases and evil spirits, especially during sleep. However, he is also a punishing god, a demonic force that brings about divine retribution, or nemesis (petbe).
The worship of Tutu is attested in Egypt from the 6th century B.C. It becomes particularly popular during the Ptolemaic period and remains active into the Roman era, at least until the early 3rd century A.D. In Greek texts, the god was initially known as Totoes, but from the early Roman period, the name Tithoes became prevalent. In Egypt, Tutu is worshiped in religious centers alongside other deities such as Neith, Tapsais, Ammon, Horus, Isis, Imhotep, Bes, and others. As is generally the case with Egyptian deities, Tutu presents a complex iconography, which is attributed to his pantheistic nature.
As a Benevolent Demon (Agathos Daimon), meaning a deity with apotropaic and protective powers, Tutu enjoys popular acceptance and great popularity. His presence in Thessaloniki is part of the broader dissemination of the worship of Egyptian gods, a consequence of the intensified interactions between the Greek world and Egypt during the Hellenistic period. The statuette of Tutu was found in the city's sanctuary dedicated to the Egyptian gods, a significant and extensive sanctuary, which was likely established in the early 3rd century B.C. and continued to function until the early 4th century A.D. In this religious center, deities from both the Egyptian pantheon (Isis, Sarapis, Horus/Harpocrates) and Greek pantheon (Zeus Hypsistos, Aphrodite, Dionysus) were worshiped. The statuette, dated to the early 1st century B.C., represents a rare testimony to the worship of Tutu outside Egypt. In the Greek world, only one other example is known: a relief from Amphipolis, which is now housed in the Museum of Fine Arts in Budapest.
The sphinx was probably introduced into the sanctuary in Thessaloniki as an offering from a worshipper who had contacts with Egypt, or perhaps even from an Egyptian merchant. During the Hellenistic period, Thessaloniki and Alexandria had developed commercial relations. People, goods, customs, and ideas traveled from one major Mediterranean port to another. Through this multicultural and eclectic network, the small Egyptian sphinx found its way to the flourishing sanctuary of the Egyptian gods in Thessaloniki.
