Replica artefacts are a well-established feature of Roman archaeology, particularly as used in experimental archaeology, by re-enactors, and in museum education. 3D scanning offers a new methodology for the accurate production of such artefacts, which can then be used both in scholarly research and in public engagement activities. This article describes methodologies for 3D scanning and 3D printing, together with appropriate craft techniques, in the creation of replica musical instruments from the collection of UCL's Petrie Museum of Egyptian Archaeology in London. While there were some challenges in replica creation, discussed in further detail, 'functional replicas' were successfully made, that, we argue, replicate sufficiently accurately those features of the objects under investigation from a research perspective. These were the decibel levels (sound power levels), and, for some objects, frequency (pitch) ranges produced, and the variety of sounds that they could produce. This evidence makes an important contribution to our understanding of the contexts of use of the original instruments. Sound recordings virtually modelled in a likely use location, the courtyard of a typical house from Roman-period Egypt, were also produced and assist in our conceptualisation of the wider acoustic environment. Sound recordings and replicas were additionally used for public engagement purposes in a temporary exhibition at the Petrie Museum, and their contribution to museum education is assessed. 3D scanning and printing technology are demonstrated to be valuable techniques for the production of accurate replicas, which can be used successfully to contribute to scholarly research and museum education in new ways. Appendices include .stl files that may be downloaded and 3D printed, to make copies of the replicas for use in new research and education projects.

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to be regarded as 'primarily comic'. 3 That this should have been the case even before the composition of Philoxenus' dithyramb Cyclops or Galatea (c. 400), 4 in which, possibly for the first time, 5 Polyphemus was given a female love object, only serves to show what a wealth of possibility the myth already contained in its original Homeric version. The humour later authors generated at Polyphemus' expense was often derived from the incongruities which arose from placing this unwieldy character in a literary world where he clearly did not belong, and where his attempts to conform to the conventions of the genre made him more ridiculous still. These conventions give rise to three changeable features of Polyphemus' characterization which are an important part of the background to the particular Ovidian metamorphosis which I am seeking to identify in this paper: (1) size; (2) eroticism; (3) musicality. (1) Size. The Homeric Cyclops was gigantic (, Od. 9.187, 190), more a mountain than a man (190-2); the stone he swung lightly into place as a door for his cave could not have been budged by twenty-two four-wheeled wagons (240-3)-a problem for Odysseus and his companions once they were locked in for the night (304-5); his club (, 319) is as big as a ship's mast (, 322) in both length and thickness (324). Virgil, too, would take advantage of the literary form and conventions of epic to present a monstrously large Cyclops: at Aen. 3.619-20 he is so tall (arduus) that he strikes the lofty stars (altaque pulsat | sidera); when he lies stretched out he is huge (immensus, 632); he is a terrifying monster, ugly and huge (monstrum horrendum, informe, ingens, 658), who can wade out into the deep before he is in up to his waist (664-5). Both the performative genres (drama, dithyramb) on the one hand, and pastoral poetry on the other, reduce Polyphemus' epic stature, the former because of the limitations of the human actor, the latter because of the particular conventions of the pastoral genre: in Theocritus 11 he is young (, 9), awkward and in love, but not gigantic. The effect in both cases is to humanize the epic monster to a certain degree. (2) Eroticism. Euripides had created humour out of the image of an intoxicated and aggressively amorous Cyclops, who calls Silenus his 'Ganymede', declares his general preference for boys, styles himself Silenus' , and hauls the protesting satyr into his cave (thankfully offstage) to bugger him there (Cyc. 581-9). If Polyphemus' Euripidean transformation was from the confirmed bachelor to the EROGENOUS ORGANS 563