The “names” on the ancient Greek vases are there for everyone to see, but only the Scythic speaking people can read the hidden message of these scytales! What a revealing name! that goes unnoticed by scientists for two and a half thousand years.The small cup from Corinth (1883 or earlier), now in Paris, Louvre MNC 332, has these “names” added to the boxing scene:
> Víjó (vívó) ki elbukta fél vége. (The fighter, who lost it, fears his end.)

CONTENTS Amazons & Scythians 'Nonsense Inscriptions'?! Making Sense Etruscan=Hungarian Cretan Hieroglyphs Linear A Sundry MY HUNGARIAN PAGES


   Blog titleNumber of entries
Amazons & Scythians 1
'Nonsense Inscriptions'?! 8
Making Sense 13
Etruscan=Hungarian 2
Cretan Hieroglyphs 2
Linear A 2
Sundry 0

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Amazons & Scythians

By altering the saying “when in Rome, do as the Romans do” to “when in Athens, write as the Athenians do” we could write as follows:

Ιτ ις εαςι το ρεαδ ανδ υνδερστανδ θις! Yes, the previous sentence is in English and will stay English even in this transliteration: Ιτ’ς ’ς’ το ρ’δ & υ&ερστ& θ’ς!, which ’s ’s’ to decipher & compreh& and despite the unusual lettering still unquestionably English. But do you understand this sentence: Δε υαιον ηρτι-ε εζτ? Of course, not, if you don’t speak Scythian/Hun/Hungarian, and there is no way you can transliterate this into English, or the previous into Hungarian. And this is all the “science” you need to read and comprehend a text written in a language you utilise. If the text is written in unaccustomed lettering or coded, it may take some time to decode it, but the language, it was drafted in originally, will not change in the process.

Making Sense of Nonsense Inscriptions Interpretations Associated with Amazons and Scythians on Athenian Vases


'Nonsense Inscriptions'?!

Under Construction...

Common sense in nonsense inscriptions I
Common sense in nonsense inscriptions II
Common sense in nonsense inscriptions III
Common sense in nonsense inscriptions IV
Common sense in nonsense inscriptions V
Common sense in nonsense inscriptions VI
Common sense in nonsense inscriptions VII
Common sense in nonsense inscriptions VIII


Making Sense

This work is based on Rudolf Wächter's book, entitled Non-Attic Greek Vase Inscriptions. He sets out the goal to identify “the linguistic and epigraphical features” of the inscriptions, but makes himself lame at the outset for the linguistic aim by declaring that al the inscriptions are only names (labels): heroic, non-heroic, or even good for nothing “throwaway” names.

On the contrary, we read these “names” and conceive them as explanatory and complementary words to the drawn scene. What the ancient painters could not express with their pictorial means, they have added in words without any prudery. As a matter of facts, without reading and understanding these inscriptions one cannot really comprehend what the drawing is all about.

The vases in Wachter's book are categorised epigraphically, by the locally used variant of the alphabet, into 22 groups named after these localities. We will follow this line, only breaking the text up into more easily manageable pieces. Due to the limitations of our browsers, we use only the transliterations of vase inscriptions to modern Greek alphabet, which in turn we transliterate, using the table in the Alphabets blog, into Magyar ABC and read the inscriptions by backfilling the left out vowels.

Making Sense after Rudolf Wächter I. (Boiotia)
Making Sense after Rudolf Wachter II. (Aigina and uncertain)
Making Sense after Rudolf Wachter III. (Corinth 1.)
Kypselos chest in Olympia and the Amphiaraos krater
Making Sense after Rudolf Wachter IV. (Corinth 2.)
Making Sense after Rudolf Wachter V. (Corinth 3.)
Making Sense after Rudolf Wachter VI. (Corinth 4.)
Making Sense after Rudolf Wachter VII. (Corinth 5.)
Making Sense after Rudolf Wachter VIII (Pinakes1)
Making Sense after Rudolf Wachter IX (Pinakes2)
Making Sense after Rudolf Wachter X (Lakonia – Ithaka – Euboian Colonies).
Making Sense after Rudolf Wachter XI (‘Chalcidian’ and Pseudo-Chalcidian).
Making Sense after Rudolf Wachter XII (Etruria, Achaian and Doric Colonies, Ionic and Doric Islands, Ionic Dodecapolis and Doric Hexapolis)



The Etruscan language is studied by no mean scholars, but if someone would like to dig a bit deeper into the basics of Etruscology one would find oneself in shifting sand. Even the reading of the inscriptions is questionable, as there are no word dividers, only occasional prosodic breath or morpho-grammatical unit dividers, and very often only the consonantal frame of the word is marked. But this doesn't seem to baffle the researchers. Without establishing the spelling rules or writing method, they translate the texts, compile dictionaries, in which not just the meaning of the words, but even their existence is questionable. They write grammas not knowing where one word ends and the other starts!

In the followings I present a simple to follow writing method, the defective notation of vowels and with its help I transcribe/transliterate the Etruscan texts to current spelling rules, making them readable and understandable, without any farther grammatical gizmos, for all those who speak the language. For those who don't, there is an English translation of these very edifying and arresting texts, free of false scientific constructions. I have applied this method of transliteration first to the three longest texts and as it came through perfectly well, I went on and cannot stop wandering, text after text, how divers and quaint the masterly framed epitaphs and other short inscription can be.

Marvellous Etruscan multiple akrostichon and palindrome inscriptions


Cretan Hieroglyphs

To read hieroglyphic writings one doesn't need any higher education than to read any other writing. Of course, there are some principles and rules to master, but they are simple rules. Literacy started when resourceful men, their inherited capability to recognise an object by the similarity to its drawing, combined this with similarly sounding words to the name of that object. For example, by the drawing of a palm we write down the similar sounding plum word (similar here stands for 'has the same consonantal frame').

The essence of hieroglyphic writing is in the rebus principle by which an easily recognisable object's name stands for a similarly sounding but hard to draw word.

The Cretan hieroglyphic writing is an organic writing system. The texts are compiled in such manner, that by naming loudly the picture elements in row, everybody could understand its message. This is a strictly consonantal writing taken down by small recognisable pictures, called hieroglyphs. The vowels can be changed to the need of developing the train of thought contained in the consonantal frames.

From the above said follows that any hieroglyphic writing can be read only in its original language, which has to be a linear one, in which always the last word or suffix determines the role of all previous words in the sentence. Magyar is such a language, probably the only one, so ...

The Phaistos Disc's Readings
The Phistos Disc in Retro


Linear A

For over 60 years the belief rules supreme that LinA is a syllabary writing system, because Linear B, which adopted and adapted quite a number of Minoan hieroglyphs and linear signs is a syllabic writing (if to believe the phone-book-like  decipherment of it). It seems that nobody is bothered in the scientific community about the fact that this reasoning defies common sense, so let us put it in more high-flown way: by the Boolean logic B can be true even if A is false. It is easy to demonstrate that LinA (similarly to Minoan hieroglyphic writing) is a phonetic writing system, based on rebus and acrophonic principles in letters, and using defective notation of vowels as the method of writing.

Pictograms of Linear A writings
Reading of Linear A Writings



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