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.)

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Blog : Making SenseKeywords : ‘Chalcidian’, Satyrs, Maenads, Atalante, Peleus, Minos, Tauros

Making Sense after Rudolf Wachter XI (‘Chalcidian’ and Pseudo-Chalcidian).


The transliteration into modern Greek from the different ancient handwritings is done by H. R. Immerwahr and others, which in turn is transcribed by me, using this simple ABC table, at the same time backfilling the left out vowels, to reconstruct the inscriptions in today's spelling.

12. ‘Chalcidian’

The name of this important ‘school’ of archaic Greek vase-painting is exclusively based on the type of local alphabet that the painters apply. No ‘Chalcidian’ pottery has so far been found on Euboia, and only few fragments in Euboian colonies in the West. Therefore the place (or places?) of production is still debated.

~ @ CHA 1 ~

Neck-amphora from Vulci, by the Inscription P. (Feb. 1829). Leiden, Rijkmus. van Dudheden PC 28.

Scene: Dance involving horse-hoofed Satyrs and Maenads (three of the Maenads are looking back over their shoulders); no clear beginning or end nor grouping in pairs. All figures are labelled.

Date: 530–525 (LIMC i).

(a) Αντιες > A NőTŰ' E SZó > a nőtül e szó (from the woman this word)

(b) Μολπε > Mi ÖLéBE > mi ölébe (which in her lap)

(c) Δασον > aDASSON > adasson (will put you)

(d) Κλυτο > Ki LeVeT Ő > ki levet ő (who drops you)

(e) Ηιππαιος > HIBa BAJOS > hiba bajos (mistake difficult/awkward)

(f) Ξανθο > KuSSaN óCSÓ > kussan (meglapul) ócsó (ocsú/léha) (loose lies flat)

(g) Δορκις > DŐRe Ki ŰZ > dőre ki űz (silly who drives)

(h) Χορο > GYÓRÓ' > gyóról (off from the good)

(i) Οϝατιες > ÓVAT IjES > óvat (figyelmeztet) ilyes (draws attention such)

(j) Μυρο > MűVéRŐ' > művéről (about one's act)

(k) [...]ιμος > [Η]ιμος > HÍMÖZő > hímöző ('embroidering'/'beat about the bush'/'(to) friendly with boys')

(l) Ϝιο > VÍjÓ > víjó (fencer/fighter)

A nőtül e szó mi ölébe adasson: ki levet, ő hiba, bajos; kussan (meglapul) ócsó (ocsú/léha); dőre ki űz gyóról; óvat (figyelmeztet) ilyes művéről hímös víjó. (This word, which will put you in her lap, is from the woman: who drops you is a mistake, it is difficult/awkward; loose lies flat; silly is who drives off from the good; the 'embroidering'/ 'beat about the bush'/'(to) friendly with boys' fencer/fighter draws attention about such her acts.)

Wachter's interpretation: Unspecified scene with a dance involving Satyrs and Maenads (labels).

Who cares about the names of the Satyrs and Maenads! They only symbolise our intimate thoughts and instincts.

~ @ CHA 2 ~

Neck-amphora from Vulci, by the Inscription P. (1828/29). Paris, Cabinet des Médailles 202.

Scene: In front of a herd of cattle is Athena (a) backing Herakles (b), who is shooting an arrow at Geryones (c). A man (d), an arrow in his back, is lying dead and face-down on the ground with his

head to the r. His hound (unnamed) is lying dead on his back. On the other side there is a frontal quadriga (with Iolaos, unnamed).

Date: 540–530 (Lane; LIMC iv and v); c.530 (Schefold); towards 530–520 (LIMC ii).

(a) Αθεναιε > AThÉNÁJÉ > Athénájé (Athena's)

(b) Ηερακλες > Hű ERő AKi LES > hű erő aki les (faithful force who watches out)

(c) Γαρυϝονες > aGARáVa' óVÓ NÉZ > agarával óvó néz (with his greyhound looks upon protectively)

(d) Ευρυτιον > E VeRőVe' íTéJJÖN > e verővel ítéljën (with this beater let s/he judge)

Athénájé hű erő aki les. Agarával óvó néz (Geryones), e verővel (Herkules) ítéljën. (Athena's faithful force who watches out. With his greyhound, (Geryones) looks upon protectively, with this beater let (Herakles) judge)

Wachter's interpretation: Herakles and Geryones (labels).

~ @ CHA 3 ~

Neck-amphora from Vulci, by the Inscription P. (1828/29). Paris, Cabinet des Médailles 203.

Scene: A man to r. (a) putting on his greaves, a woman to l. (b) holding his shield and spear. A warrior to r. (unnamed) putting on his helmet, in front of him an archer on horseback to r. (c) with a spare horse, and another archer to r. on foot (d) facing a woman to l. (e). Next comes a warrior ( f ) with a boy (unnamed), both looking back at the others while walking to r. towards an old man, who is greeting them (g). Behind him two horses (h) and (i) to l., ridden by an armed horseman, probably ( j), and his page, probably unnamed, waiting. Date: c.530 (LIMC iii–v, vii).

(a) Δεμοδοϙος > üDE Mi O'D OKOS > üde mi old okos (fresh is what absolves clever)

(b) Ηιππολυτε > HIBáBÓ' eLeVe íTÉ' > hibából eleve ítél (from mistakes in advance judges)

(c) Τυχị[.]ṣ > TUDJa I[Dő]S > tudja idős (elder knows)

(d) Τοξ[...] > Τοχ[...]see facs. > uTÓDJa [KöVeTi] > utódja [követi] (his offspring follows him)

(e) Ϙλυτο > Ki eLéVíTŐ > ki elévítő (who makes things obsolete)

(f) Περιφας > éBERŰ' FiA SZó' > éberül fia szól (vigilantly his son tells)

(g) Πολυδος > áPOLVa/aPOLVA iDŐS > ápolva/apolva idős (caring/lovingly for the elderly)

(h) Ξανθος > KaZA' uNaTJa ŐS > kazal unatja ős (bores him stiff elder)

  1. Ϙροπιος > Ki ROBaJOS > ki robajos (who with loud noise)

(j) Γλαυϙος > aGLÁ'Va oKOS > aglálva (összeaggatva) okos (hooked together clever)

Üde mi old. Okos hibából eleve ítél. Tudja idős utódja [követi] ki elévítő. Éberül fia szól: ápolva/apolva idős, kazal unatja ős, ki robajos, aglálva (összeaggatva) okos. (Fresh is what absolves. Clever man judges in advance from mistakes. Elder knows (that) his offspring who follows him, makes things obsolete. Vigilantly his son tells: caring/loving for the elderly, bores him elder stiff , who with loud noise hooks together clever words.)

Wachter's interpretation: Pseudo-heroic departure scene (labels).

~ CHA 3A ~

Neck-amphora from ?, by the Inscription P. (found ?). Malibu, Anonymous loan to the J. Paul Getty Mus. L. 88. AE. 56.

Scene: In a continuous scene covering both sides of the vase a total of thirteen men are lying around on mattresses, wrapped in blankets, some with their heads on a cushion, most of them sound asleep.547 On one side, however, a warrior to r. (a) is about to stab a man on the ground (b), who – his eyes widely open – is startled, having just had the time to pull his arms from under the cover. On the other side a warrior (c) is stabbing another man, who has his eyes still closed like all the others. Under the handle a number of horses, tethered to trees, are shown in great emotion.

Date: c.550–540 (True).

(a) Διομεδες > De JÓ Mi ÉDES > De jó mi édes! (The sweet is good indeed!)

(b) Ϝρεσος > VéRE SÓS > Vére sós. (Their blood is salty.)

(c) Οδυσευς > Ö' De VéSZ E VéSZ > Öl de vész e vész! (He kills, but the calamity perishes!)

Wachter's interpretation: The slaughter of the Thracians (labels).

~ @ CHA 4 Lost ~

Neck-amphora from Vulci, by the Inscription P. (shortly before 1833; first in the Pembroke coll., then in the Hope coll., lost since 1849).

Scene: A warrior to r. (a), who has laid down his armour, is treating the wounded finger of a companion to l. (b). Athena to r. (unnamed) is standing behind a huge warrior, who is striding to r. (d) and stabbing his opponent (e). The latter tries to pull away the dead body of Achilleus (c), who is lying between them, an arrow in his heel, head to the l. Next is an archer ( f ), running away but at the same time shooting back at (d). Two warriors, (g) and unnamed, are rushing to l. to attack (d).

Finally a warrior to r., hit in the breast, stumbles and collapses (h), while another one (i) is passing him, following (g).

Date: c.550 (Schefold; LIMC ii; iii, ‘Diomedes’, vii); c.550–540 (LIMC i, ‘Achilleus’; iv); c.540 (LIMC i, ‘Alexandros’; vi); c.540–520 (LIMC iii, ‘Echippos’); c.530–520 (LIMC i, ‘Aineias’).

(a) Σθενελος > iSTEN ÉLŐ SZó/ÉL Ő SZó' > Isten élő szó/él ő szól (God is the living word/God is alive, He speaks)

(b) Διομεδες > De JÓ Mi ÉDES > de jó mi édes (the sweet is good indeed)

(c) Αχιλλευς > A GYűLöLő E'VeSZ > a gyűlölő elvesz (the hateful gets lost)

(d) Αιας > A JÁSZ/ÍjÁSZ > a jász/íjász (the Jazygian/bowman)

(e) Γλυϙος > aGGuLó VaK ŐS > agguló vak ős (aging blind ancestral)

(f) Παρις > PÁRa ŰZi > pára űzi (ghost drives him)

(g) Αινεες > A' ÍjoN E' ÉSZ > a' íjon e' ész (this one is the brain on the bow)

(h) Λεοδοϙος > LEÖ'DÖKÖ' S > leöldököl s (keeps killing all and)

  1. Εχιππος > EGYÜ' BűBá'OZ > együl bűbájoz (united as one bewitches/captivates)

Isten élő szó/él, ő szól: de jó mi édes! A gyűlölő elvesz, a jász/íjász agguló, vak ős pára űzi – a íjon e' ész – leöldököl s együl bűbájoz. (God is the living word/God is alive, He speaks: the sweet is good indeed! The hateful gets lost, the Jazygian/bowman is aging, a blind ancestral ghost drives him, – this is the brain on the bow – he keeps killing all and united as one bewitches/captivates.)

Wachter's interpretation: Fight over Achilleus’ body (labels).

~ @ CHA 5 ~

Fr. of a neck-amphora from Chiusi, by the Inscription P. (1870 or shortly before). Florence, Mus. Arch. Etrusco 4210 (formerly 1784).

Scene: A woman to r. (a), upset, is standing behind a warrior (b), who is fighting his opponent (d) over the dead body of a third, (c) (head to the r.). Behind (d ) there is a woman to l. (e), relaxed, and behind her slight remains of a charioteer are visible ( f ).

Date: c.540 (LIMC i, ‘Achilleus’; iii, ‘Eos’ and ‘Automedon’); c.530 (LIMC i, ‘Antilochos’; vi).

(a) Εος > E' ŐS > e' ős (this ancestor)

(b) Μ[. . .]ον > Μ[εμν]ον > íM [E'MeN]ŐN > ím elmenőn (look on the way away)

(c) [Α]ντιλοχος > [A] NőTŰ' éLŐ GYŐZ > a nőtül élő győz (from the woman alive wins)

(d) Αχιλλευς > A GYŰLöLő E'VeSZi > a gyűlölő elveszi (the hateful takes away)

(e) Θετις > CSE'T ŰZ > cselt űz (makes a trick)

(f) [Αυ]τομεδον > [A Vé]TŐ MÉDÖN > a vétő médön (on the Med who misses out)

E' ős, ím elmenőn a nőtül élő. Győz a gyűlölő, elveszi. Cselt űz a vétő médön. (Look, this ancestor is on the way away from the woman alive. Wins the hateful, takes him away. He makes a trick on the Med, who misses out.)

Wachter's interpretation: Achilleus and Memnon fighting over the dead Antilochos (labels).

~ @ CHA 8 ~

Psykter-amphora from Italy, by the Inscription P. (1957 or earlier). Melbourne, Nat. Gallery of Victoria 1643. 4.

Scene: On one side a charioteer (a) with chariot and four horses as well as a warrior (b) are trampling on another warrior (c) who is lying face-down on the ground (head to the r.) and is being stabbed by (b)’s spear. To the r. another warrior facing r., down on his r. knee (d), is stabbed by his opponent (e). On the other side a warrior to r. ( f ) is helping another one (g), who is kneeling to l. and is about to be stabbed from behind by his opponent (h). In the middle the central figure (i), to r. but face in frontal view, is fighting his opponent ( j). Finally a victorious warrior (k) to r., as if fighting on the Trojans’ side, has set one foot on his opponent (l), who is lying on the ground (head to the r.), and is about to stab him.

Date: c.540 (Trendall; Schefold; Keck; LIMC, mostly); c.540–530 (LIMC iii, ‘Diomedes’; v, ‘Hippolochos’).

(a) Αυτομεδον > AVaTÓ MÉDÖN > avató médön (on the initiating Med)

(b) Αχ[..]λευς > Αχ[ιλ]λευς > A GY[ŰLö]Lő É'VeZ > a gyűlölő élvez (the hater enjoys himself)

(c) Ευρυμαχος > E VeRőVe' MA GYŐZ > e verővel ma győz (with this beater he wins today)

(d) Περιφατας > éBER IFi A TÁSS > éber ifi a táss (társ) (the companion is a vigilant junior)

(e) Αστεροπαιος > A SeTÉRe Ő BA'JÓS > a setére ő baljós (he is ominous on the awkward)

(f) Ηιπολοχος > HIBa ÖL Ő GYŐZ > hiba öl ő győz (the mistake kills he wins)

(g) Χαροφς > Ki SARÓ' FeSZe/FéSZe > ki sarol (sarlóz) fesze/fésze (vész) (who hoes, disaster)

(h) Ριομεδες > Rá JÓ ME' iDÉZ > rá jó me(rt) idéz (good for it because it cites)

(i) Γλαυϙος > aGLÁ' VaKOS > aglál (összeaggat) vakos (the blind patches up)

(j) Μενεσθ.[...] > Μενεσθ[ευς] > MENESZTJ[E VaS] > menesztje vas (iron let him go)

(k) Οδυσε.[...] > Οδυσε[υς] > ODa ViSZ E [VéSZ] > oda visz e vész (this disaster leads there)

(l) Με[. . .] >> ()

Avató médön a gyűlölő élvez e verővel; ma győz, éber ifi a táss (társ), a setére ő baljós. Hiba öl, ő győz ki sarol (sarlóz). Fesze/fésze (vész) rá jó me(rt) idéz. Aglál (összeaggat) vakos, menesztje vas. Oda visz e vész ... (The hater enjoys himself on the initiating Med with this beater; he wins today, the companion is a vigilant junior, he is ominous on the awkward. The mistake kills, he who hoes he wins. Disaster good for it because it cites. The blind patches up, iron let him go. This disaster leads there...)

Wachter's interpretation: Unspecified battle scene with Achilleus, etc. (labels).

~ @ CHA 10 ~

Hydria from Vulci, by the Inscription P. (Jan. 1829). Munich, Staatliche Antikensammlung SH 596.

Scene: In front of a group of three men and a woman, all unnamed, Atalante (a) (the name begins at the back of her head running to l.) is wrestling with a naked man facing her (b) (the name begins at the back of his head running to r.), behind whom three men, one dressed and holding a spear (c) (the name is painted on his robe), one naked (d) (the name begins next to his forehead), and another one dressed (unnamed), are watching the match. In the background a boar’s head is lying on a table. On the reverse of the vase Zeus (e) is fighting a winged, bearded, long-eared creature with double snake body (Typhon, unnamed).

Date: 540/530 (Arias–Hirmer–Shefton, Simon–Hirmer); c.550 (Schefold (1964) and (1966), LIMC vii); c.540 (Schefold (1978); LIMC ii–vi); c.530 (Schefold (1993) ).

(a) Αταλαντε > Á'TALA iNTÉ > általa inté (through her did he warn him)

(b) Μḥοφσος > íMHÓ' FeSZÖS > ímhol feszös (here it is reserved)

(c) Πελευς > PELEUSZ > Peleusz (Peleus)

(d) Ϙλυτιος > KeLLő ÜTi JÓ SZó > kellő üti jó szó (duly comes good word to him)

(e) Ζευς > ZEUSZ > Zeusz (Zeus)

Általa inté ímhol feszös Peleusz, kellő üti jó szó. Zeusz. (Through her did he warn him, here it is, reserved Peleus, duly comes good word to him. Zeus.)

Wachter's interpretation: Before the wrestling match of Atalante and Peleus at the funeral games for Pelias (labels). Zeus fighting Typhon (label).

~ @ CHA 11 ~

Hydria from Caere, by the Inscription P. (ex Campana inv. Cp 94; 1856 or earlier). Paris, Louvre F 18.

Scene: Two female onlookers to r. (unnamed). A warrior (a) with a sword wrestling with the Minotaur (b) and about to stab him. Looking back over her shoulder at the scene, a woman to r. (c), and facing her, a man to l. with spear (d). Date: c.550 (LIMC).

(a) Θεσευς > THÉSZEUSZ (CSE'-SZÉ'VéSZ) > Thészeusz (csel-szélvész?) (Theseus (ruse-hurricane))

(b) [...]υροσμινοιος > [Τα]υροσμινοιος > TA-ÚR-ŐS MIN Ő JÓS > ta-úr-ős1 min ő jós (last master-father on what is he entitled)

(c) Αριαδε > (ARIAD(N)E) ÁRuJJA DE > (Ariad(n)e) árulja de ((Ariad(n)e) she reveals but)

(d) Μινος > íM ÜNŐ SZó > ím ünő szó (look it is a bitch's word)

Thészeusz (csel-szélvész). Ta-úr-ős, min ő jós (jogos), (Ariad(n)e) (el)árulja, de ím, ünő szó (a féltékeny nő(stény) árulása)2. (Theseus (ruse-hurricane). The last master-father, on what is he entitled. (Ariad(n)e)/she reveals him, but look, it is a bitch's word.)

The basis for the whole Minotaur myth is the headdress with bullhorn and the belonging title of the queen's (ex-)husband. In the Minoan matriarch society, according to Robert Graves, Minos is the queen's husband, serving (mainly) the reproduction of the dynasty for a year, (13 Moon-months) or a long year (100 Moon-months). He functions as MINOS < MŰ-NŐS 'artificially married' and he wears a headdress with bullhorns and (after his disposal) an official title TAUROS < TA-ÚR-ŐS 'last master-father'. The bullhead ornament is not unique in the Minoan culture. Looking over the occurrences of the DE sign in linear A writing: , , , , … one will soon realise that these are actually the linear drawings of boar-heads with tusks on top and a pair of strings at the bottom for tying them up. DE is a head ornament: DíSZ and stands for the two-letter D_S/Z. One could suppose that the bullhead is higher ranking than the boarhead.

Wachter's interpretation: Theseus and the Minotaur (labels).

~ @ CHA 13 ~

Hydria from Vulci, by the Inscription P. (1865 or earlier). London, British Mus. 1865. 7-22. 15 (Formerly 474).

Scene: Two warriors (a) and (b) to r., the first stabbing an opponent (unnamed), who has fallen on his knees, in his back, the second fighting another one, who is facing him, (c). To the r. two warriors facing l., the first (d) is fleeing, but already on one knee, the second (e) attacking him.

Date: c.540–520 (LIMC).

(a) Ανταιος > ANNYiT A JÓ SZó > annyit a jó szó (so many people the good word)

(b) Αντιοχος > A NőT JÓ GYŐZi > a nőt jó győzi (the woman good conquers)

(c) Πολυδορος > aPOLVa De OROZ > apolva de oroz (kissing but appropriates)

(d) Ϝαχυς > VÁGY ŰZ > vágy űz (desire drives you)

(e) Μεδον > íMe ÉDÖN > íme édön (look here is Eden)

Annyit a jó szó, a nőt jó győzi apolva, de oroz. Vágy űz? Íme Édën. (The good word conquers so many people, the good conquers woman by kissing, but appropriates her. Does the desire drives you? Look here is Eden.)

Wachter's interpretation: Non-heroic battle scene (labels).

~ @ CHA 14 ~

Krater from Vulci, by the Inscription P. (1836 or shortly before). Brussels, Mus. Royaux A 135.

Scene: Dance involving human-footed Satyrs (S) and Maenads (M). The sequence is very likely to start with the Satyr (a),572 which can be seen from the neatly crossed tails of the two Satyrs (unnamed) and (a), the l. of which is painted later, after the r. one was already dry. First comes a group SMS (a)–(c), then a pair MS (d)–(e), two pairs SM ( f )–(g) and (h)–(i), and another group SMS, ( j), (k), and nameless. In the triple groups the M are dancing towards the S to their r., but looking back over their shoulders at the S to their l. Date: —.

(a) Σμ.. > Σμος > SZáMOS > számos (many)

(b) Ξανθοι > KóSZa Nő úTJa OLY > kósza nő útja oly (stray woman's journey is such)

(c) Ηιπος > HIBa ŐSi > hiba ősi (ancestral mistake)

(d) Ϝιο > VíJÓ > víjó (wrestling)

(e) [. ?]σμις > σμις > SZű Mi ŰZi > szű mi űzi (heart what drives her)

(f) Μεξας > íM E KuSZÁS > ím e kuszás (look this entangled)

(g) Φοιβε > FŐ IjBE' > fő ilyben (head in such)

(h) Δορκις > DŐRiK IS > dőrik is (becomes also silly)

(i) Ναις > iNA' IS > inal is (runs away too)

(j) Πο.ις > Πορις > PŐRe IS > pőre is (half-naked too)

(k) Δ[.].ο > Δ[γ]ρο > De íGéRŐ IS > de ígérő is (but also promising)

Számos kósza nő útja oly – hiba ősi – víjó (vívódó) szű mi űzi. Ím e kuszás fő ilyben dőrik (dőrévé lesz) is, inal is, pőre is, de ígérő is. (Many stray woman's journey is such – it is ancestral mistake – (that there is a) wrestling heart what drives her. Look, this entangled head in such becomes also silly, runs away, half-naked, but also promising.)

Wachter's interpretation: Unspecified scene with a dance involving Satyrs and Maenads (labels).

The Satyrs and the Maenads are actually our instincts and inner struggles, they are playing with our hearts and minds.

~ @ CHA 15 ~

Krater from Vulci (Rumpf ), by the Inscription P. (before 1858). Würzburg, Martin von Wagner Mus. der Univ. L 160.

Scene: A woman to r. (a) looking back over her shoulders, an archer to l. (b) with winged shoes watching her, another woman to r. (c) facing a warrior to l. (d), the eye-catching central figure. A rider (e) on one of two horses is waiting for him. Under the handles there are two men, on the reverse two horsemen, all unnamed.

Date: 530–520 (Schefold); c.540 (Arias–Hirmer–Shefton; Simon–Hirmer; LIMC).

(a) Ηελενε > Ha ELLENE > ha ellene (although against it)

(b) Παρι[...] > Παρι[ς] > BÁR ŰZi > bár űzi (she chases him)

(c) Ανδρομαχε > A Nő De eRRŐ' MA üGYE' > a nő d erről ma ügyel (the woman but today about it care)

(d) Εκτορ > E KéT ŐR > e két őr (these two guards)

(e) Κεβριονες > Ki ÉBeR JÖN ESZe > ki éber jön esze (who is vigilant comes to his mind)

Ha ellene bár űzi a nő, de erről ma ügyel e két őr. Ki éber jön esze! (Although the woman chases him against it, but today these two guards care about it. Who is vigilant comes to his mind!)

Wachter's interpretation: Departure of Hektor and Paris (labels). Non-heroic running and riding scenes (no labels).

~ @ CHA 18 ~

Hydria from Vulci, by the Cambridge P.577 (1864 or earlier). Cambridge, Fitzwilliam Mus. Gr. 25. 1864 (formerly G 45).

Scene: Three pairs of men and women facing each other, the men labelled (a)–(c), the women nameless, and an extra man to l., also nameless.

Date: 3rd q. 6th cent. (LIMC).

(a) Δ[.]ον > Δ[ι]ον > iDe JÖN > ide jön (he comes here)

(b) Ϝιον > VaJON > vajon (does he)

(c) Ανταιος > A NóTA JÓS > a nóta jós (the song foretells)

Ide jön vajon? A nóta jó szó. ( Does he comes here? The song fortells.)

Wachter's interpretation: Non-heroic conversation scene (labels).


~ @ CHA 20 ~

Belly-amphora from Vulci, by a painter only known from this piece (Collinge) (1829/30?). Munich, Staatliche Antikensammlungen SH 592.

Scene: A warrior (a), who has left part of his armour behind, is slaying a fully armed warrior (b) with his sword. On the reverse a horseman (unnamed). Date: c.540.

(a) Η[...].λες > Η[ερα]κλες > HÉRA KeLÉSe/KüLÉSe > Héra kelése/külése (an abscess on Hera / the rise of an era or/and the outing of Hera / the one who does without Hera)3

(b) Ϙυϙνυς > Ki VaKoN ŰZ > ki vakon űz (who blindly pursues)

Héra kelése/külése ki vakon űz. (An abscess on Hera / the rise of an era or/and the outing of Hera / the one who does without Hera, who blindly pursues.)

Wachter's interpretation: Herakles and Kyknos (labels).

~ @ CHA 21 ~

Frs. of a lid from Reggio, by a painter only known from this piece (Collinge) (1882). Reggio Calabria Mus. Naz. 1027/8. Scene: A man (a) carrying a woman (b) towards a chariot. Date:

dreißiger Jahre’, sc. of the 6th cent. (Schefold); last q. 6th cent. (Foti); 3rd q. 6th cent. (LIMC); 550–530 (Lattanzi).

(a) Πολυδευκες > aPOLVa De EVVe' KÉSZ > apolva de evvel kész (kissing but with it it's over)

(b) Φοιβε > FŐ' iLYBE' > l ilyben (she is cooked in it)

Apolva (csókolva), de evvel kész, fől ilyben. (Kissing, but with it, it's over. she is cooked in it.)

Wachter's interpretation: The Dioskouroi and the Leukippides (labels).

~ @ CHA 23 ~

Fr. of a lid from Reggio (Griso-Laboccetta), by ? (1960/61: Iozzo, p. 3 with n. 10). Reggio Calabria Mus. Naz. 1027/8. Scene: (concave) The tree (used as a weapon) and an arm of a Centaur to l. (a), followed by—at least—two others, (b) and one whose name is lost. Date:6th cent. (Iozzo); 550/530 (Keck); c.520 (LIMC).

(a) [. . . ?].λατιος > Ελατιος > ELLÁTi JÓ SZó > elláti jó szó (kind word cares for)

(b) Μαρφσος > {M+N}αρφσος > MiN ÁR FeSZÖS > min ár feszös (where the price is tight)

Elláti jó szó min ár feszös. (Kind word cares for where the price is tight.)

Epigraphy: (a) The first visible letter contains a lower falling (or horizontal) bar, of which the bottom tip is preserved (it could be α, γ, ε, ζ, κ, ρ, ξ). For the second an upsilon (Iozzo, Johnston)

is not the most likely possibility, since the l. bar is almost vertical; λ is the best-suited letter, δ or β, if very narrow and tall, are also possible. (b) There is no space at the end for another letter in front of the third Centaur’s head. But the M has a fifth stroke, it is actually a ligature: {M+N}!

Wachter's interpretation: Unidentified battle of Centaurs, perhaps with Herakles (labels).

13. Pseudo-Chalcidian

~ @ PCH 1 ~

Amphora from Vulci, Memnon Group (c.1829/30). Basle, Antikenmus. und Samlung Ludwig. Scene: A woman to r. (a) backing a warrior (b) who over the dead body of another warrior, (c) (head to the r.), is fighting a third one (d). Behind the latter another woman (e) is standing, facing l.

Date: c.530–520 (Canciani (1980a) ); c.530 (LIMC iii); c.550 (LIMC i and vi); 3rd q. 6th cent. rather than later (Collinge, pp. 234–41).

(a) Eως > E ŐS > e ős (this predecessor)

(b) Μεμνων > íM E'MeNŐN > ím elmenőn (look in departing)

(c) Αντιλοχος > A NőTŰ' eLŐDJe OSSZa > a nőtűl elődje ossza (from the woman the former deals with him)

(d) Αχιλευς > A GYÜLEVéSZ > a gyülevész (the rabble)

(e) Θετις > CSETŰ'iS > csetül is (totters, too)

E ős, ím, elmenőn a nőtűl, elődje ossza. A gyülevész csetül (csetlik) is (This predecessor is, look, in departing from the woman, the former deals with him. The rabble totters, too.)

Wachter's interpretation: Achilleus and Memnon fighting over the dead Antilochos (labels).






1 TA: távolra mutató gyökelem, pl. taval(y). TA-ÚR: tavali király, a női ágon (matriarchátus) uralkodó királynőnek az (ex-) férje, aki bikaszarvas (türkös) fejdíszt viselt, erre volt JÓS, vagyis jogos.

2 A bikafej-dísz nem egyedülálló a minószi kultúrában. Átnézve a lineáris/vonalas A írásban a DE jel néhány előfordulását: , , , , … az ember rájön, hogy ezek valójában a disznófej vonalas rajzai, tetejükön az agyarakkal és egy pár zsinórral az aljukon. Hordozóik ezekkel a zsinórokkal kötötték meg a díszes disznófej fejdíszt (DíSZ-süveget) az álluk alatt. (Tudom, ízlések és pofonok különböznek!)

3  Heracles is indeed the appearance of the new masculine era. His name confirms that with a vengeance: HERACLES > (H)ÉRA KeLÉSe > Héra/éra kelése (an abscess on Hera / the rise of an era) or HÉRA KüLÉSe/KüLEZő > Héra külése/(nél)külező (the outing of Hera / the one who does without Hera)

Mellár Mihály

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The Scythian language resurrects as Scythic-Hun-Magyar.


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The Scythian language resurrects as Scythic-Hun-Magyar.


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.



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