The subject of the study – the phenomenon of cultural appropriation of Ancient pagan iconography by Early Christian art – is approached through the funerary art of Ptolemaic Egypt. The study aims at tracing back the origin of an important Early Christian scene – Jonah under the Gourd Vine – by methods of semiotic analysis and historical contextualization. In the 3<sup>rd</sup>–4<sup>th</sup> centuries AD it used to be the most popular Biblical subject throughout the Roman Empire. Some scholars argue that a mythological scene of Endimion’s dream, often carved on Late Antique sarcophagi, served as a model for visualization of the story of the prophet. However, this hypothesis does not explain the origin of the gourd vine motif, which is yet another iconographic sine qua non detail of the Jonah resting scene. Before the ‘birth’ of Early Christian art the motif had appeared just once – in Wardian necropolis of Alexandria. The gourd was first mentioned in Septuagint – the Greek translation of the Hebrew Bible made by Alexandrian Jews in the 3<sup>rd</sup> century BC. It substituted another plant originally mentioned in the Hebrew text. Both the Bible translators and Alexandrian painters had been well familiar with the gourd that was seemingly largely cultivated in Alexandrian suburbs. At some point of the city history Alexandrian painters adopted the pagan visual cliché for visualization of the Old Testament episode, and the new iconographic cliché was lately imported by Roman and provincial Christian milieu.