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Mihály Mellár :
Common sense in nonsense inscriptions VII


from AVI numbers 6000 to 6999

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.

All the descriptions are pasted in from Henry R. Immerwahr’s AVI (Attic Vase Inscriptions) Project homesite ( Where it could be identified, there the inscription’s Beazely Archive Database (BAD: ) number is also given, which can be very useful for the pictures supplied on this website to most of the inscriptions.

There are two categories of nonsense inscriptions: those with imitation letterings are real nonsense and not the subject of our attention, but most of the others – which imitate words by using real letters – are actually legible texts that make perfect sense when one fills back the left out vowels by the applied method of writing, the so called defective notation of vowels method, wildly used in the era and area (see for example I. J. Adiego in The Carian Language).

In the followings, the Greek letters of the “nonsense” inscriptions are transcribed or transliterated (in green) CAPITAL letters, while the left out vowels are filled back in small/lower case letters. It is still only a transcription/transliteration from one lettering (Greek alphabet) to Hungarian Roman lettering and from one method of writing (defective notation of vowels) to the today’s full phonetic notation in use by the current grammar. In these legitimate transcriptions the language of the inscriptions is not changing, we still read the inscriptions in their original language, that is in Scythian/Hun/Hungarian and only occasionally we need explanation for some words with, by now, faded away meanings.

This is all the science needed to read the “nonsense” inscriptions. But to analyse and further investigate these, from here and now on meaningful, common sense texts, all scientists are welcome, from linguists, historians, artists and art-historians, aestheticians etc.

Going the other way around is only groping about in the dark, as it turns out the inscriptions are integral parts of the depictions. They complement it in such a way that our perception or first impression often changes for good. With the hindsight of the text we sometimes see and comprehend an entirely different picture with a valuable message only accessible by these readings. So, like it or not, these readings of the “nonsense” inscriptions are hard facts and without them neither the message nor the artistic value of the Attic vases cannot be fully apprehended nor it can be fully appreciated.


<>: omitted letters

(): miswritten letters

{}: letters inserted by mistake

[]: letters lost

^ : gap between letters, whether caused by intervening objects or not

v. vac. vacat: letter spaces left blank

: two-dot punctuation

:* three-dot punctuation

|: line break

dotted letters: letters uncertain when taken out of context accents and breathings: in principle omitted for the vase inscriptions, but sometimes added for clarity long marks: added sporadically especially for the ending –on strike-through: used for ligatures and for the so-called syllabic heta(h<e>)

For abbreviations of Books and Archives see

AVI 6024; BAD 306829

(?) Paestum. BF lekythos. From Pila{1}. Manner of Emporion Painter (Sestieri). First half fifth Shortly after 470 (Sestieri).

Decoration: Two chariots.

Inscriptions: Between them, nonsense: ο(σ)ελλο.

Footnotes: {1} 10 km NE of Paestum.

Bibliography: *Sestieri (1954), 94/1 (not ill.).

Author: H.R.I. Internal ID: 6258

ο(σ)ελλο > ÖSSZE-iLLő LÓ > Összeillő ló. (Matching horse(s).)

AVI 6031; BAD 9017687

Palermo, Museo Nazionale. BF lekythos. From Selinus, tomb 42 (excavations of 1964). Unattributed. Third quarter sixth (Tusa).

Decoration: Theseus and the Minotaur, between women and men looking on.

Inscriptions: Nonsense: imitation letters or dots: four rows, two to left and two to right of Theseus and the Minotaur. In the BG area below the picture, Gr. in large letters, in two irregular lines: Ἀριστοκλείας ε̅̓μὶ τὰς καλ|ὰς καλά· hαύτα δ’ ἐμά· Πίθαϙος αἰτέσας ἔχει{1}.

Commentary: M. and T. follow Gallavotti in reading two iambic trimeters: Αριστοκλειας εμι τας καλας καλα· hαυτα δ’ εμα· Πιθαϙος αιτεσας εχει. The vase speaks. For the meaning of the graffito see the discussion in ZPE.

Footnotes: {1} The first line starts under the Minotaur, i.e. in the middle of the picture; the second line is written above it (but still in the BG) and starts much further to the left. The text is that of ZPE: the pictures show only a portion of the right-hand part of the inscription. The original reading εμι in line 2 is corrected to εμα by M. and T. after Tusa (see ZPE n. 7.).

Bibliography: Guarducci (1974), 340 n. 1 (but inscr. is not a Dip.). — Gallavotti (1979), 53ff. — Tusa (1982), 171-78, fig. 2, pls. 42-44. — *O. Masson and J. Taillardat (1985), 137-40, pl. 9. — Engelmann (1986), 102. — SEG 39 (1989), no. 938. — Johnston (1990), 461/M (not ill.).

Author: H.R.I. Internal ID: 6265

Αριστοκλειας εμι τας καλ > ÁRJa SZóT OKKaL E JÁSZ/íJÁSZ ÉMITT ÁSKÁL > árja szót okkal e jász/íjász émitt áskál (with words of malice swear, this Jazygian/bowman is alert)

ας καλα· hαυτα δ’ εμα· > ας καλα hαλτα δ εμι > A SZó KALL A HALoTTA' DE MI > a szó kall a halottal de mi (intrigues with the heard word, but what)

Πιθαϙος αιτεσας εχει > BICSAKO' SZÁJaT ÉSZ A SZÉGYELLJe > bicsakol szájat ész a szégyellje (jack-knives mouth: the mind is of shame)

Árja szót okkal e jász/íjász émitt áskál, a szó kall a halottal, de mi bicsakol szájat: ész a szégyellje (szégyenlője)! (This Jasic (Jazygian/Ionian)/bowman with reason alertly intrigues/plots Aryan words, the word wears away with the deceased, but what jack-knives mouth: the mind is of shame!)

Robert Graves in The Greek Myths (98.1.) states that “The straightforward account of Theseus’s raid on Cnossus, quoted by Plutarch, makes reasonable sense. It describes a revolt by the Athenians against a Cretan overlord who had taken hostages for their good behaviour; the secret building of a flotilla; the sack of the unwalled city of Cnossus during the absence of the main Cretan fleet in Sicily; and a subsequent peace treaty ratified by the Athenian king’s marriage with Ariadne, the Cretan heiress. These events, which point to about the year 1400 BC, are paralleled by the mythical account: a tribute of youths and maidens is demanded from Athens in requital for the murder of a Cretan prince. Theseus, by craftily killing the Bull of Minos, or defeating Minos’s leading commander in a wrestling match, relieves Athens of this tribute; marries Ariadne, the royal heiress; and makes peace with Minos himself.

The text on the lekythos doubts the trustworthiness of the peace-treaty. It even gibes at the marriage of Theseus by giving Ariadné this compound name: ÁRJA+Di+NÉ = 'Aryan' + ironic adjective formative + 'wife' = 'Aryan's mock wife'. This reading of Ariadné's name is validated by Graves in 98.6.: “Theseus’s marriage to the Moon-priestess made him lord of Cnossus, and on one Cnossian coin a new moon is set in the centre of a maze. Matrilineal custom, however, deprived an heiress of all claims to her lands if she accompanied a husband overseas; and this explains why Theseus did not bring Ariadne back to Athens, or any farther than Dia, a Cretan island within sight of Cnossus. Cretan Dionysus, represented as a bull—Minos, in fact—was Ariadne’s rightful husband; and wine, a Cretan manufacture, will have been served at her orgies. This might account for Dionysus’s indignation, reported by Homer, that she and the intruder Theseus had lain together.

Farther more, these readings expose the people involved in the Theseus myths: the Aryans (Hellenic Greeks) and Ias (Jassic/Jazygian Scyths) or – by their other name – Ionians of the pre-Hellenic substratum of Greece, which is still a very alive ethnic group in the heart of Hungary.

AVI 6048; BAD 302357

Palermo, Museo Nazionale GE 1896.1. BF lekythos. Leagros Group. Last quarter sixth 510-500

Decoration: Heracles and Cycnus, with Athena.

Inscriptions: Nonsense: between Athena and Heracles: χοσ(.)τ(σ). Above Heracles: οσκ(σ)στισ. Between Heracles and Cycnus: (.)ϝτϝεχο{1}.

Commentary: Note that there is one inscription for each figure.

Footnotes: {1} these readings are from the ph. in Haspels. My readings from another photo.: χοσ(κ)τσ. χσκχστισ. (ι)ετϝεχο.

Bibliography: *Photo. — *Haspels (1936), 44, pl. 14, fig. 2. — ABV (1956), 379/276.

Author: H.R.I. Internal ID: 6282

χοσ(.)τ(σ) > eGY ŐSi KeTTőS > Egy ősi kettős. (An ancient duet/double/duplex.)

οσκ(σ)στισ > ŐSi KoSZoSíT IS > Ősi koszosít is. (Ancient also besmears.)

(.)ϝτϝεχο > KöVeTe'VE eGY Ő > Követelve egy ő. (In demands he is the same.)

Yes, Cycnus is just the same with his insatiable demands as Eurysteus. “...When all three tasks had been accomplished, Cycnus further demanded an ox which Phylius had won as a prize at certain funeral games. Heracles advised Phylius to refuse this and press for a settlement of his claim with Cycnus who, in desperation, leaped into a lake; thereafter called the Cycnean lake...”(123.i. in The Greek Myths by R. Graves.)


AVI 6064; BAD 205986

Palermo, Museo Nazionale V 745. RF Nolan amphora From Gela. Alkimachos painter{1}. Second quarter fifth

Decoration: A: Nike flying with a sacrificial tray. B: youth.

Inscriptions: A: above the tray: nonsense: (π)(π)(π)πρ{3}.

Commentary: = Palermo 32.

Footnotes: {1} under the influence of the Pan Painter. {2} there, and in ARV[1] 364/36, attributed to the Pan Painter himself. {3} so Beazley in Pan-Maler: the first pi = Ionic gamma, the second and third reversed; all in printed letters. Richter read ΓΟΕDΑ and suggested γοερα, `magic, sacred things.' Beazley declared this to be wrong.

Bibliography: Beazley (1912), 360/29, 369. — *Richter (1926), 426 n. 2. — *Beazley (1931a), 23/30{2}. — I. Bovio, CVA Palermo 1, Italy 14 (1938), pls. 27,2 and 28,1-2. — ARV[2] (1963), 530/14. — Add.[2] (1989), 254.

Author: H.R.I. Internal ID: 6298

(π)(π)(π)πρ > ΓΤΤΠΡ{3} > eGeT TePeR > Eget teper. (It tools down the Heaven.)



AVI 6068; BAD 275327

Palermo, Banco di Sicilia: Mormino Collection 165. RF lekythos. Bowdoin Painter. Second quarter fifth

Decoration: A naked youth washing at a laver; above it, sponge and aryballos.

Inscriptions: Nonsense: on the bowl of the laver: imitation letters: three are clearly visible, but there is probably a fourth; perhaps: κλσ(.).

Commentary: = 29 (ARV[2]).

Bibliography: ARV[2] (1963), 1666/154 bis. — *J. de la Genière, CVA Palermo, Mormino, Italy 50 (1971), III I, pl. 1,4. — Add.[2] (1989), 279.

Author: H.R.I. Internal ID: 6302

κλσ(.) > KeLőSíT > Kelősít (It makes one hot/desirable/be in request.)




AVI 6085; BAD 320385

Paris, Cabinet des Médailles 207. BF amphora. From Vulci. Painter of Berlin 1686. Third quarter sixth 550-530

Decoration: A: warriors leaving and arming. B: two warriors fighting, between two women.

Inscriptions: Nonsense: A: to right of a warrior who is putting on greaves: ειοχειλι. Above his head: εποιτκι, retr.{1}. To right of an old man's legs: εαιοτονοχε, retr. B: To right of the left warrior's leg: ειοχιοχει, retr.{2}. Similar, near the right warrior's leg: ειρχ<ρτειχχ, retr.{3}. To right of his knee: ...ειο(τ)χ{4}. To right of a woman at right: ειοχειοχε. Under the foot: ΜΕ [[lig.]] and Attic lambda. See Johnston (1979), 135/10E 2.

Commentary: De Ridder's facss. are worthless. Rho D-shaped. Sigma = <. Upright chi.

Footnotes: {1} not all of this is clear in the photo, as there is a break at this point. {2} CVA gives another inscription, near horizontal, above and between the fighters, which I did not see in the photo.: κνιοννκι. {3} the rho's could be omicron's. {4} CVA has: ειοχειοτχ.

Bibliography: *Photo. — De Ridder (1902), i, 117-19 (facs.). — *M. Lambrino, CVA Bibliothèque Nationale 1, France 7 (1928), pl. 34,3-5. — Beazley (1929a), 362. — ABV (1956), 296/6.

Author: H.R.I. Internal ID: 6321

A:       ειοχειλι > E JÓ üGY ÉJJeLI > e jó ügy éjjeli (this good case is nocturnal/nightly)

εποιτκι > EBBŐ' ÜT KI > ebből üt ki (it knocks me out of this)

εαιοτονοχε > E' A JÓTÓ' NŐ uGYE > el a jótól nő ugye (away from the good, is it a woman, isn't it?)

E jó ügy éjjeli, ebből üt ki, el a jótól! Nő, ugye? (This good case is nocturnal/nightly, it knocks me out of this, away from the good. Is it a woman, isn't it?)

B:       ειοχιοχει > E'JŐ íGY JÓ' üGYELJ > eljő így jól ügyelj (it will come, so be careful)

κνιοννκι{2} > KöNNYŰ Ö'Ni NeKI > könnyű ölni neki (it is easy for him to kill)

ειρχ<ρτειχχ > ειρχ{Λ DőL}ρτειχχ{Commentary} > E ÜRüGGYeL DőL éRTE ÍGY üGY > e ürüggyel dől érte így ügy (with this excuse the case falls for him this way)

...ειο(τ)χ > ειοχειοτχ{4} > E JÓ üGYÉ' JÓ TőGY > e jó ügyé(rt) jó tőgy (Good udder for this good case)

ειοχειοχε > E JÓ üGGYE' JÓ íGY E > e jó üggyel jó így e (with this good case is good this way, this)

{M+E}L > MELL > mell (breast/bosom)

Eljő, így jól ügyelj! Könnyű ölni neki, e ürüggyel dől érte így ügy. E jó ügyé(rt) jó tőgy! E jó üggyel jó így e mell. (It will come, so be careful! It is easy for him to kill, with this excuse the case falls for him this way. Good udder (is offered) for this good case! With this good case is good this breast/bosom this way.)

AVI 6086; BAD 301745

Paris, Cabinet des Médailles 215. BF amphora. Painter of Würzburg 173. 530-520

Decoration: A: Warrior Leaving Home, in a chariot. B: Heracles and the Lion, between Iolaus and Athena.

Inscriptions: B: to left of Heracles' back and legs: nonsense: imitation letters(?): ο(λ)ι(φ) ολο{1}.

Commentary: Poorly published. The phi is rendered as a cursive form in CVA.

Footnotes: {1} so CVA, text; the photo is unclear; the text prints the first lambda as an Ionic gamma, but it is a lambda. The inscription is read upside down by de Ridder.

Bibliography: *M. Lambrino, CVA Bibliothèque Nationale 1, France 7 (1928), III H e, pl. 35,2-3,5,8. — ABV (1956), 327/2.

Author: H.R.I. Internal ID: 6322


ο(λ)ι(φ) ολο > ÖLI Fő ÖLŐ > Öli fő ölő! (The main/capital/head/chief killer kills it!)




AVI 6088; BAD 305526

Paris, Cabinet des Médailles 219. BF neck amphora. Diosphos Painter. Early fifth Decoration: A: Heracles and the bull, with Athena. B: The Birth of Dionysus, with Hera{1}.

Inscriptions: A: nonsense inscriptions: on Heracles' upper left: λχυλχ(ο)χ. On his lower left: (χ)εχλ. On Hera's lower right: χεχλχ. B: behind Zeus' head: καλο(ς){2}. To right of the boy Dionysus: Διὸς φο̅́ς{3}. Behind Hera's head: hερα.

Commentary: A small amphora. The inscriptions on A and B probably by different hands. - Haspels 96-97 n. 6 is a long discussion by Beazley of the three possible meanings of ΔΙΟΣΦΟΣ (with sigma 1); Διος φως, διος φως, and Διος φως. Beazley argues against the generally accepted Διος φως, `man of Zeus', since Dionysus is not a man but a god; the second has the same problem; the third, suggested by Minervini, is perhaps no more unlikely than the other two. "It is always possible, of course, that the painter meant to write Διονυσος but let his thoughts wander halfway-through." -An important vase, since the inscriptions on A and B differ so much that they can hardly be by one hand.

Footnotes: {1} the subject is not certain, but see Fuhrmann. {2} sideways sigma. {3} de Ridder suggests καλὸς Διὸς φώς and compares an etymology of Dionysus. Haspels 96 reads καλος with reversed three-stroke sigma.

Bibliography: *Photo. — CIG 4 (1855–77), p. xviii. — Kretschmer (1890), 29. — Kretschmer (1894), 119. — De Ridder (1902), i, 127-28. — *M. Lambrino, CVA Bibliothèque Nationale 2, France 10 (1931), III H f, pl. 75,6-7 (bibl.). — Haspels (1936), 96 and nn. 5 and *6, *238/120 (bibl.). — Fuhrmann (1950–1), 110 ff., fig. 4. — ABV (1956), 509/120. — ARV[2] (1963), 300. — Add.[2] (1989), 127.

Author: H.R.I. Internal ID: 6324

A:       λχυλχ(ο)χ > λχυλχφχ > LáGYUL íGY FeGY > lágyul így fegy (discipline softens this way)

(χ)εχλ > κεχλ > KEGGYeL > keggyel (with favour)

χεχλχ > üGY EGYüL íGY > ügy együl így (the cause unites this way)

Lágyul így fegy keggyel, ügy együl így. (Discipline softens with favour this way, the cause unites this way.)

B: “since the inscriptions on A and B differ so much that they can hardly be by one hand”, the B side may be Greek, if not after all, than:

καλο(ς) > καλον{2} > oKKA' iLLŐN > okkal illőn (properly with reason)

Διὸς φο̅́ς > De JÖSSZ FŐS > de jössz fős (but you come headstrong)

hερα > HÉáRA > héára (on his defect/failure)

Okkal illőn, de jössz fős (önfejű) héára (hiányára). (Properly with reason, but you come headstrong(!) on his defect/failure.)

AVI 6096; BAD 473

Paris, Cabinet des Médailles 251. BF stamnos. Unattributed. Ca. 530

Decoration: A: Dionysus with kantharos, with a satyr and two maenads. B: The Struggle for the Tripod, with Leto (or Artemis?); deer.

Inscriptions: B: partly nonsense or mock inscriptions: Between the foreheads of Heracles and Apollo: hεαριος. To right of Heracles' face: αφχνγα(.)τ, retr.{1}. To left of Leto's face: Λετος(χ), retr.{2}. Under the foot, Gr.: Attic lambda and Etruscan 8. See Johnston (1979), 107/24B 16. There are also some other signs, cf. CVA.

Commentary: The first and last inscription look like bowdlerized names of Heracles and Leto, but it is hard to read the second in any way as Apollo. An illiterate?

Footnotes: {1} I have not a good reading of this; CVA does not consider it retr. and prints: τσασχφα. De Ridder has: εσδυσαοα. There is a glare in the photo, but I saw ...οστ, retr. {2} CVA has: αετοσχ, retr., and interprets: Αετος, which is also de Ridder's understanding.

Bibliography: BADB: 473. — *Photo. — De Ridder (1902), i, 158f. (readings). — *M. Lambrino, CVA Bibliothèque Nationale 2, France 10 (1931), III H e, pl. 77,3-4, 78,1-3 (bibl.). — Philippaki (1967), pl. 14,2 (A). — Boardman (1974), fig. 221 (A). — LIMC iii (1986), pl. 330, Dionysos 308 (A).

Author: H.R.I. Internal ID: 6332

hεαριος > HÉÁRa JÓS > héára jós (it is oracle/fortune-teller on its defect/failure)

αφχνγα(.)τ > A FeGYőN iGAZáT > a fegyőn igazát (with the punishment, his righteousness)

Λετος(χ) > LETÖSZi íGY > letöszi így (he puts down this way)

Héára (hiányára) jós: a fegyőn igazát letöszi így. (It is oracle/fortune-teller on its defect/failure: with the punishment he puts down his righteousness this way.)

AVI 6100; BAD 330884

Paris, Cabinet des Médailles 272. BF oinochoe. From Camiros. Athena Painter. First quarter fifth

Decoration: Two armed men dancing the pyrrhiche on either side of a flautist.

Inscriptions: Nonsense: two imitation inscriptions: πττσσς. (ϝ)ττσ{1}.

Footnotes: {1} after the facs. in CVA.

Bibliography: *M. Lambrino, CVA Bibliothèque Nationale 2, France 10 (1931), III H f, pl. 66,3,7. — ABV (1956), 531/6. — Add.[2] (1989), 132.

Author: H.R.I. Internal ID: 6336

πττσσς. (ϝ)ττσ > BuTíTáS SoSe ViTaTáS > Butítás sose vitatás. (Stupefying is never debating/contesting.)

AVI 6103; BAD 208233

Paris, Cabinet des Médailles 299. BF/WG lekythos. Athena Painter. First quarter fifth

Decoration: A wounded warrior.

Inscriptions: Nonsense: τοι δ, retr. υτκ(γ)οσ. οσδ. τοσδ(ο){1}.

Footnotes: {1} so the facs. in CVA, which is probably unreliable; pl. 85,1 shows: διοτ, retr. and, curved: ασδ.

Bibliography: Fairbanks (1907), Group A, Class 1/6. — *M. Lambrino, CVA Bibliothèque Nationale 2, France 10 (1931), III J a, pl. 84,7 (much early bibl.). — Haspels (1936), [[258/]] no. 106. — ABV (1956), 704. — Para. (1971), 260.

Author: H.R.I. Internal ID: 6339



τοι δ > διοτ{1} > DIÓT > diót (of (wall)nut)

υτκ(γ)οσ > ÜTő Ki áGOS > ütő ki ágos (the beater who has the stick)

οσδ > ασδ{1} > A SZeDő > a szedő (the collector)

τοσδ(ο) > uTÓ SűDŐ > utó sűdő (a freshman following him)

Diót ütő ki ágos, a szedő utó sűdő (újonc). (The beater of (wall)nut is who has the stick, the collector is a freshman following him.)

AVI 6106; BAD 10995

Paris, Cabinet des Médailles 315. BF lip cup. Unattributed. Third quarter sixth 550-530

Decoration: Lip: A-B, each: a gazelle and a panther.

Inscriptions: Handle zone: nonsense: imitation letters: A: ιγγριρρευο(π)(π)γγογιπποχπ(π)(π)ιογοχσ. B: ιγρπϝρτγ(χ)ο(π)(.)(π)(π)ι(π)(π)(π)ιροϝπ(π)(α)οι(.)λ.

Commentary: The inscription on A is given after the text in CVA; that on B after fig. 11, which is very small. The readings are uncertain. The pi's and gamma's are hard to distinguish. Attic gamma. Pi variable.

Bibliography: De Ridder (1902), i, 210, pl. 8 (A). — *M. Lambrino, CVA Bibliothèque Nationale 1, France 7 (1928), III H e, pl. 47, 9-11. — AttScr (1990), no. 1070.

Author: H.R.I. Internal ID: 6342

A:     ιγγριρρευο(π)(π)γγογιπποχπ(π)(π)ιογοχσ > IGe iGéRő ÍR RÉVŐ PiPe GáGOGI PiPOGYa PuPáBa JÓ GÖGYöS > Ige igérő ír révő. Pipe gágogi pipogya pupába: jó gögyös. (Word promising medicine is enrapturing. Gosling gaggles into a gutless cocoon: good babbler.)

B:     ιγρπϝρτγ(χ)ο(π)(.)(π)(π)ι(π)(π)(π)ιροϝπ(π)(α)οι(.)λ > ιγρπϝρτγ(χ)οργγ(π)ι(π)(π)(π)ιροϝπ(π)(α)οι(.)λ{Commentary} > Ű GeRéB VáRóBa' GuGYoRGó GöBöLY PuPa-BŰRe ÓV BúBA' OLYTóL > Ű geréb váróban. Gugyorgó göböly pupa-bűre óv búban olytól. (It is barrier/difficulty in waiting. Hiding in cocoon-like skin of the crouching beeves (store cattle) guards from such (hurdle).)

AVI 6107; BAD 10988

Paris, Cabinet des Médailles 316. Plain (?) LM cup. From the Corinthian Isthmus? Unattributed. Third quarter sixth

Decoration: No figured decoration?

Inscriptions: Handle zone: nonsense: A: κσχογυοεοχοι{1}. B: σροοειοχεο{2}.

Footnotes: {1} so CVA, text, apparently confirmed by the photo. {2} so CVA, text; partly visible in the photo. De Ridder has altogether different readings.

Bibliography: BADB: 10988. — De Ridder (1902), i, 210f. — *M. Lambrino, CVA Bibliothèque Nationale 1, France 7 (1928), III H e, pl. 47,1,4.

Author: H.R.I. Internal ID: 6343

A:     κσχογυοεοχοι > κσχφγυφζοχοι > KiSZeDJe FoGóVa' FőZŐ íGY ÓJJa > Kiszedje fogóval, főző így ójja (óvja). (Take it out with tongs, the cooker protects you this way.)

B:     σροοειοχεο > σροφζιφχεο > SóRÓ' FőZI FeGGYE' Ő > Sóról főzi feggyel ő. (S/he cooks it salt (corned) collected/orderly.)

AVI 6113; BAD 207367

Paris, Cabinet des Médailles 359. RF amphora. Providence Painter. Second quarter fifth

Decoration: A: Danaus and Amymone (or a companion)? (a woman with a hydria fleeing to a man with his scepter). B: a woman fleeing.

Inscriptions: Nonsense: A: (π)ιγυ. (π)(σ)δι(σ). B: ϝυδε̣(.){1}. Under the foot, Gr: Δ{2}.

Footnotes: {1} done from the facss. in De Ridder, which are unreliable. (π): probably an `arrow' gamma. The second letter of the second inscription is miswritten; the last letter is a sideways sigma. The last letter of the third incription is a horizontal stroke. {2} not in Johnston (1979).

Bibliography: *De Ridder (1902), ii, 261-62 (not ill.; facss., p. 262). — CB (1931–63), ii, 91. — ARV[2] (1963), 636/16.

Author: H.R.I. Internal ID: 6349

A:     (π)ιγυ (π)(σ)δι(σ) > {Γ+Ι}ιγυ {Γ+Ι}(σ)διν{1} > éGI IGéVe' éG IS DŰ'Ne > Égi igével ég is dűlne. (With heavenly words even the heaven would fall.)

B:     ϝυδε̣(.) > ϝυδε̣{I DűL}{1} Δ > éVÜ' DE IDűL éDe > Évül de idűl éde. (She is getting older, but her sweetness is getting better.)

AVI 6139; BAD 9017904

Paris, Cabinet des Médailles 477. WG squat lekythos. Unattributed. Date unclear

Decoration: A woman with torch and phiale.

Inscriptions: Nonsense: υ(α)(υ)σ(?){1}.

Commentary: Four-stroke sigma with a squiggle at the bottom. The other letters are unclear.

Footnotes: {1} read upside down by de Ridder, who suggests: παυς.

Bibliography: *De Ridder (1902), ii, 356-59 (facs.), pl. 19 (some bibl.).

Author: H.R.I. Internal ID: 6375

υ(α)(υ)σ > υλγσ{Commentary} > ViLáGoS > Világos (Bright)

AVI 6189; BAD 9017166

Paris, Cabinet des Médailles 592. Fr. of RF cup. Unattributed. Date unclear

Decoration: Int.: top of a head; dog. A: two draped figures on a couch, with table and shoes; beneath, a dog; feet.

Inscriptions: Int.: nonsense: σνσ{1}.

Footnotes: {1} so de Ridder, in caps. Complete?

Bibliography: *De Ridder (1902), ii, 441.

Author: H.R.I. Internal ID: 6425

σνσ > SuNYáS/SZáNáS/SZeNeS/SZíNeS > sunyás/szánás/szenes/színes (hangdog/compassion/coal-scoop/colourful)

AVI 6242; BAD 9017897

Paris, Louvre E 734. BF hydria (kalpis). Connected with Sappho Painter's work (Haspels){1}. Ca. 500

Decoration: Shoulder: two lions devouring a bull (to left).

Inscriptions: Shoulder: nonsense: above the left lion's back, bearing upward: λοστοστ. Between their necks, down: λοσ, retr.{2}. Above the right lion's back, diagonally downward: λοστσ.

Commentary: Boardman's reading agrees with mine; hence I have identified the original CAVI 6242 vase with Louvre E 734.

Footnotes: {1} Sappho Painter (Boardman) [I think]. Near Sappho Painter (Beazley's note with a photo, but not in ABV or Para.) {2} somy reading (as probable); Boardman: λοσ.

Bibliography: *Photo. — Morin-Jean (1911), 138, fig. 153. — Haspels (1936), 116. — *Boardman (1955), 62/under 28 (mention).

Author: H.R.I. Internal ID: 6478

λοστοστ > iLLŐ SZéTOSZTi > illő szétoszti (s/he divides it fairly)

λοσ > iLLŐ iS > illő is (fair indeed)

λοστσ > eLOSZTáS > elosztás (division)

Illő szétoszti. Illő is elosztás. (S/he divides it fairly. The division is fair indeed.)

AVI 6255; BAD 310104

Paris, Louvre E 830. BF Tyrrhenian neck amphora. Guglielmi Painter (Bothmer). Third quarter sixth 550-530 Middle period (Kluiver).

Decoration: Komos (obscene): A: men and women dancing. B: men, youths and women dancing.

Inscriptions: Nonsense: A: (ο)ονοι. νον. γον(.). B: similar inscriptions. Under the foot, Dip. in red: Μ. See Johnston (1979), 99/13B 10.

Commentary: The first letter of the first inscription is a round blob.

Bibliography: *E. Pottier, CVA Louvre 1, France 1 (1923), III H d, pl. 2,1-7. — ABV (1956), 102/105. — Para. (1971), 39. — AttScr (1990), no. 192. — Kluiver (1996), 21/210 (inscrr. not mentioned), fig. 25 (shows inscriptions on B, small).

Author: H.R.I. Internal ID: 6491

A:     (ο)ονοι. νον. γον(.) > {ToS/Z}ονοι. νον. γον(.){Commentary} > ToSZÓ NŐJJ NŐNe GONoSZ > Toszó nőjj! Nőne gonosz. (Shaft, do grow! It would grow malicious.)

AVI 6258; BAD 310056

Paris, Louvre E 833. BF Tyrrhenian neck amphora. Guglielmi Painter (Bothmer). Third quarter sixth 550-530 Middle Period (Kluiver).

Decoration: A: Amazonomachy. B: horsemen.

Inscriptions: A: nonsense: τυονο. αυτ(.)(.). τυοι{1}.

Footnotes: {1} so CVA. My readings differ: three insriptions: between legs of two figures: συτρ(ο) [abuts a leg]. Between a leg and a shield: συονο. Under a shield: τυοι.

Bibliography: *E. Pottier, CVA Louvre 1, France 1 (1923), III H d, pl. 2,3,9. — ABV (1956), 99/57. — *Bothmer (1957), 11/55, pl. 25,3,a-b. — Para. (1971), 38. — AttScr (1990), no. 189. — Kluiver (1993), 192 fig. 3g. — Kluiver (1996), 21/204 (inscrr. not mentioned).

Author: H.R.I. Internal ID: 6494

τυονο. αυτ(.)(.). τυοι > συτρ(ο) συονο τυοι{1} > SZŰT/SZíVeT áRO' SZŰ/SZíV Ő NŐ TeVŐJe > Szűt/szívet árol szű/szív, ő nő tevője. (Heart prices heart, it is mover of woman.)

AVI 6259

Paris, Louvre E 834. BF Tyrrhenian neck amphora. Kyllenios Painter [[Addenda: Guglielmi Painter (Bothmer); Para. lists as Kyllenios Painter (Bothmer); Kluiver lists as Guglielmi Painter (Bothmer)]]. Second quarter sixth 560-550 Middle Period (Kluiver).

Decoration: A: a fight of six hoplites. B: a battle of seven. Below, three friezes.

Inscriptions: Nonsense: A: three inscriptions: between the legs of two figures: νονοϝισ. Between the legs of a third figure: νοϝ(σ)ν{1}. Between the legs of two figurs: νο(υ)σ̣οϝ{2}. B: τυοϝν. γον. νονυ. νουιν. [[Addenda:]] A: νονοϝισ. νοϝιν. νοσυοϝ. [So the phs., it seems.]

Commentary: The readings on B done after CVA; they are rather unreliable. The readings on A are corrected from autopsy.

Footnotes: {1} a very flat soft-curved sigma, reversed; it could be an iota. {2} The inscriptions are on the left side of the figures.

Bibliography: *E. Pottier, CVA Louvre 1, France 1 (1923), III H d, pl. 2,5,11. — ABV (1956), 100/69. — Para. (1971), 38. — AttScr (1990), no. 179. — Kluiver (1996), 21/205 (inscrr. not mentioned), fig. 27 (left part of B [my A], shows some inscriptions).

Author: H.R.I. Internal ID: 6495

A:       νονοϝισ > NŐN Ó VISZa > Nőn ó visza. (Awry on woman guards one.)

νοϝ(σ)ν > νοϝιν{1} > NŐ VINYó > Nő vinyó. (Woman is whining.)

νο(υ)σ̣οϝ > νοσυοϝ{2} > NŐ SZŰ/SZíV ÓV > Nő szű/szív óv. (Woman's heart guards.)


B:       τυοϝν > TeVő ÓVNa > Tevő óvna. (Activity/engagement would guard one.)

γον > éG Ö'Ne > Ég ölne. (Heaven would kill.)

νονυ > NŐ NeVe' > Nő nevel. (Woman breeds/rears/schools.)

νουιν > NŐ VINYó > Nő vinyó. (Woman is whining.)

AVI 6261; BAD 310074

Paris, Louvre E 836. BF Tyrrhenian neck amphora. Kyllenios Painter (Bothmer). Third quarter sixth 550-530 Late period (Kluiver).

Decoration: A: fight: three duels. B: horse race: three horses to right; at left, tripod. Below: A, B, each: three friezes: animals; floral; animals.

Inscriptions: A: nonsense: eight (not seven) nonsense inscriptions. Between the B/A handle and the leftmost warrior, vertically down: 9 letters and two blotches. Between his legs, horizontal: οστυϝσο, complete. To right of his head, curved: several letters. Between the legs of the second and third warriors, interrupted by the former's leg, diagonally downward: (χ)σοσο^λ(.)(ο)κ, retr., complete. To right of the third warrior's face, diagonally downward: four letters. Between the middles of the fourth and fifth warrior, downward: four letters. Between the legs of the fifth warrior, bearing upward: (.)εσν(.)σο^σ{1}. Between the legs of the sixth warrior, horizontal but slightly curved: at least seven letters (the ph. is unclear).

Commentary: The readings in CVA are useless.

Footnotes: {1} the first letter is a vertical stroke; the fifth is similar but seem to have a small `head' at the upper left. A leg intervenes.

Bibliography: BADB: 310074. — *E. Pottier, CVA Louvre 1, France 1 (1923), pl. 3,11,7 (bibl.). — ABV (1956), 100/75. — Kluiver (1996), 2/117 (inscrr. not mentioned), figs. 1-4 (A, B, sides; 1, 3-4, show inscriptions small).

Author: H.R.I. Internal ID: 6497

A:       οστυϝσο > ŐS íTéVe' VéSZ Ő > Ős ítével vész ő. (He dies out due to ancestral judgement.)

(χ)σοσο^λ(.)(ο)κ > íGY SZÓSZÓLó SOK > Így szószóló sok. (There are many combatants this way.)

(.)εσν(.)σο^σ > ιεσντσο^σ{1} > IjESSZeN TuSZÓ SZó > Ijesszen tuszó szó! (Let you the gossiping words frighten!)

AVI 6264; BAD 310071

Paris, Louvre E 844. BF Tyrrhenian neck amphora. Pointed-Nose Painter (Bothmer). Third quarter sixth 550-530 Middle period (Kluiver).

Decoration: A: three pairs of warriors fighting. B: komos (4 men and a woman dancing, between sphinxes). Below: A, B, each: two animal friezes.

Inscriptions: A: three nonsense inscriptions between legs: the second inscription: χικοιϝι{1}.

Footnotes: {1} This inscription is visible in CVA, pl. 7,1. The others, as given in CVA, are not worth reporting.

Bibliography: BADB: 310071. — *E. Pottier, CVA Louvre 1, France 1 (1923), pls. 4,3,11 and 7,1 [detail with inscr.] (bibl.). — ABV (1956), 100/72. — Add.[2] (1989), 27. — Kluiver (1996), 17/184 (inscrr. not mentioned), figs. 19-21 (19 is a detail of A showing one nonsense inscription).

Author: H.R.I. Internal ID: 6500

χικοιϝι > GYI'KOLJ VíJJ > Gyilkolj, víjj! (Do kill, fight!)

AVI 6269; BAD 310052

Paris, Louvre E 855. BF Tyrrhenian neck amphora. From Cerveteri. O.L.L. Group{1}. Third quarter sixth 550-530

Decoration: A: Heracles and the Amazons. B: warriors.

Inscriptions: Nonsense: A: above the head of a kneeling Amazon: γογοιοιγι{2}. On Heracles' right: hερακλες. To right of the back of the second Amazon's head: γογιϝικι, retr.{3}. Between the legs of the left Greek of the pair on the right: ν(.)οσιοσιν{3}.

Commentary: The second letter of the last inscription may be omicron (so CVA) or triangular rho.

Footnotes: {1} see Oxford 1913.164. {2} uncertain reading. {3} a good reading.

Bibliography: *E. Pottier, CVA Louvre 1, France 1 (1923), III H d, pl. 5,1,9. — ABV (1956), 99/53, 684. — *Bothmer (1957), 6/5, pl. 4,1. — Add.[2] (1989), 26.

Author: H.R.I. Internal ID: 6505

γογοιοιγι > GŐG ÖLJe OLY éGI > Gőg ölje, oly égi! (Let arrogance/pride kill him, he is so heavenly!)

hερακλες > HERAKLESZ/HÉRe AKoL ÉSZ > Heraklesz/hére (hevességre) akol ész (Heracles/the mind is pen for his fierceness)

γογιϝικι > GŐG ÍVI KI > Gőg ívi (puhítja) ki (Pride softens him up.)

ν(.)οσιοσιν > νκoσιοσιν{commentary} > NeKi ŐSi JÓ SZÍN > Neki ősi jó szín(hely, látszat) > (For him the ancient is good scene/guise.)

Out of this meaningful and contextual conversation by the two Amazons and the Greek onlooker, the scientist have got only this much: These gogo/goi syllables bring to mind the word for “girl” or “maiden” in Georgian. Tyrrhenian vases often have nonsensical inscriptions, however, and we note that this reading could be a coincidence arising from repetitive sounds distinctive of Georgian patterns

AVI 6271; BAD 310026

Paris, Louvre E 857. BF Tyrrhenian neck amphora. O.L.L. Group. Mid-sixth

Decoration: A: two Gorgons, fleeing; at right, Hermes. B: warriors between horsemen.

Inscriptions: A: behind (to left of) Hermes' face: hερμ(ε)ς{1}, retr. Four(?) nonsense inscriptions. Three are: by a winged creature at left: (ν)υο(λ)ιυοι{2}. By the two Gorgons, horizontal: νοιοζυι and νοζυιογιο.

Commentary: Restored: see AA 1923-24, 64 (ABV). I do not repeat the readings in CVA's text, except for Hermes, which is given as hερμις, with three-stroke sigma reversed.

Footnotes: {1} the epsilon is apparently miswritten as a slightly curved iota. {2} so my reading; from CVA, I read: (ν)υθ(λ)ιυοι. The first letter may be a reversed nu or a sideways sigma.

Bibliography: Thiersch (1899), pl. 2,5 (photo). — *E. Pottier, CVA Louvre 1, France 1 (1923), H III d, pls. 5,8,16 and 8,1-2. — ABV (1956), 97/26. — AttScr (1990), no. 213.

Author: H.R.I. Internal ID: 6507

hερμ(ε)ς > hερμις{Commentary+1} > HÉáRa MŰSZó > Héára műszó: (Mock/art-word for default/deficit:)

(ν)υο(λ)ιυοι > (ν)υθ(λ)ιυοι{2} > NőVe' CéL JöVŐJe > Nővel cél jövője. (For woman her future is the goal.)

νοιοζυι > NŐ JÓ ZSiVaJ > Nő jó zsivaj. (Woman is good fuss.)

νοζυιογιο > NŐ ZSiVaJOG JÓ' > Nő zsivajog jól. (Woman roisters/raises the roof well.)

AVI 6273; BAD 310146

Paris, Louvre E 869. BF hydria. Archippe Group (Near Tyrrhenian Group, iv){1}. Second quarter sixth

Decoration: Shoulder: lions between sirens. Body: Achilles receiving his armor from Thetis.

Inscriptions: Shoulder: partly nonsense and mock inscriptions: to lower right of the left siren: σιλετον. Above the left lion's back: λεονο, retr. Below his belly: λι̣ε(ο)(σ), retr. Above and to right of the right lion: σοιρο, retr. Below his belly: ζλει, retr.{2}. To left of the right siren's stomach: Σιρεν (ε)ιμι{3}. Body: to right of Odysseus' legs (he faces left), not facing him: Ολυτ<τ>ευς, retr. Similar for Achilles (who faces right): Αχιλ<λ>ευς. In front of the left-facing Thetis' face, facing her: Θετις, retr. Similar for the first Nereid: Ποντι(α){4}.

Commentary: The above readings are from CVA, before the vase was cleaned.

Footnotes: {1} may be by the same hand as the name piece, Vienna 3613 [ex Oest. Mus. 220] (ABV). {2} or σλει, with reversed sigma? {3} the second epsilon = tailed digamma. {4} see Beazley in AJA: he did not see a final letter; if there is one, he prefers Ποντια (Newton and Birch, Report on the Campana Collection 9) to Johansen's Ποντις. Recent publications show that the alpha is there, though misshapen.

Bibliography: *E. Pottier, CVA Louvre 1, France 1 (1923), III H d, pls. 12,1-3, and 13. — *Beazley (1935), 483. — Buschor (1944), 44, fig. 34. — ABV (1956), 106/iv 2. — Para. (1971), 43. — [[Gropengiesser (1977), 591 with ph. fig. 11 (quite cl.)]]. — Malagardis (1988), 395, fig 3 (A). — Add.[2] (1989), 29. — AttScr (1990), no. 215.

Author: H.R.I. Internal ID: 6509

Sh:     σιλετον > SZÜLETŐN > születőn (at birth)

λεονο > λεονθ > LEÖNTSe/LEONTJa > leöntse/leontja (let one pour/throw)

λι̣ε(ο)(σ) > eLéJE ŐS > eléje ős (in front of him/her, ancestor/elder)

σοιρο > SZÓJáRÓ/SZÓ' ÍRÓ > szójáró/szól író (common talk/writer speaks)

ζλει > σλει{2} > SZüLEI > szülei (one's parents')

Σιρεν (ε)ιμι > Σιρεν ϝιμι{3} > SZŰRÉN íVÜ' MŰ > szűrén ívül mű (the work is fertilised on fell-cloak)

Szójáró/Szól író: születőn leöntse/leontja eléje ős, szülei szűrén ívül (termékenyül) mű. (Common talk/Writer speaks: at birth let ancestor/elder pour/throw in front of him/her, the work is fertilised on one's parents' fell-cloak.)

Body: Ολυτ<τ>ευς > ÖLőVe' TEVőS > ölővel tevős ()

Αχιλ<λ>ευς > A GYÜLEVéSZ > a gyülevész ()

Θετις > CÉ'T/CSE'T ÜSSe > célt/cselt üsse ()

Ποντι(α) > PONT Ű > pont ű ()

Ölővel tevős a gyülevész, célt/cselt üsse pont ű! (With the killer the rabble is affirmative, exactly she should hit the target/gimmickry.)

AVI 6279; BAD 11264

Paris, Louvre F 9. BF hydria. Unattributed. Third quarter sixth 550-540 (Johnston).

Decoration: Shoulder: duel of two warriors; on either side, a young horseman. Body: a frontal chariot.

Inscriptions: Nonsense, tending toward imitation inscriptions: Shoulder: to left of the left horseman's back: οhυν, retr. Below the left warrior's left leg: (π)ν(.)(.)ενπ(ο). Below the right horse's belly: (α̣)(ρ)ν(λ)(.). To right of the right horseman's back: ιρ(.)ογ(.)(.).

Body: between the heads of the right pair of horses: χακναι. Between the right pair of horses: (ο)αλ(ν)λ(ο)ϝ. Under the foot, a red Dip.: ΟΠ (Pi of Attic shape){1}.

Commentary: Squarish letters of uncertain shapes. The readings not certain.

Footnotes: {1} so Johnston (1979); ΙΔ, CVA, ΙΛ, Hackl; cf. Johnston's comment, p. 77.

Bibliography: Pottier (1897–1922), ...., 86, pl. 63. — Hackl (1909), 19/20. — *E. Pottier, CVA Louvre 6, France 9 (1929), III H e, pl. 61,1-2,4-5. — Johnston (1979), 77/17A 14.

Author: H.R.I. Internal ID: 6515

Sh:      οhυν > Ő HUN > ő hun (He is a Hun)

(π)ν(.)(.)ενπ(ο) > (π)ν(.)(.)ενπθ > BűNe LeGYEN BeCS- > bűne legyen becs- (let his guilt/offence be honour-)

(α̣)(ρ)ν(λ)(.) > -ÁRNYaLÓ > -árnyaló (-shading)

ιρ(.)ογ(.)(.) > IRTOGaTÓ > irtogató (case for liquidation)

Ő hun, bűne legyen becs-árnyaló, irtogató! (He is a Hun, let his guilt/offence be discrediting/pejorative (honour-shading), case for liquidation.)

Body: χακναι > áGGYA' KíNÁLJa > ággyal kínálja (do offer him bed)

(ο)αλ(ν)λ(ο)ϝ > Ő ÁLLNa LÓVa' > ő állna lóval (he would stop the horse)

ΟΠ > ΙΔ{1} > ÜDe > üde (immediately)

Ággyal kínálja! Ő állna lóval üde! (Do offer him bed! He would stop the horse immediately!)

AVI 6280; BAD 301458

Paris, Louvre F 12. BF amphora. From Etruria. Unattributed. Third quarter sixth

Decoration: A: Warriors Leaving Home: A: a warrior with a horse; at left, a man with his staff; at right, a warrior. B: in the center, a draped youth; on either side, a warrior and dog.

Inscriptions: Nonsense: A: above the left warrior's head: χοενεονεο. On his lower right: χοεασεοπο. Under the horse's belly: νχκεαρε. To right of the `horseman's' face: αοενι̣[.]εστ. Below the horse's head: τοεοκενφκ. One more inscription{1}.

B{2}: to left of the left hoplite, along the left margin and facing it: τοε[...](.)εσ. To right of youth's head and chest: τρο(.)εχϙτ, retr. To right of the right hoplite's legs, facing the margin: καο[...]ν.

Commentary: Abnormal underfoot: see ABV 301. Neat letters.

Footnotes: {1} these readings do not altogether agree with CVA's, which I have ignored. {2} B was read from photos. only and the readings are not very certain.

Bibliography: *Photos. — Pottier (1897–1922), ...., 87, pl. 64 (A, detail, B). — *E. Pottier, CVA Louvre 3, France 4 (1925), III H e, pls. 10,9 and 11.3. — *Scheibler (1987), 98, fig. 28 (A).

Author: H.R.I. Internal ID: 6516

A:       χοενεονεο > χϙενεϙνεϙ > íGY KÉNNYE' KiNEK > így kénnyel kinek (well, with pleasure, for whom)

χοεασεοπο > χϙεασεϙπο > üGYe KE' A SZÉKBŐ' > ügye kel a székből (it's matter, raises up from his chair)

νχκεαρε > νχκεδρε > NaGY KEDéRE > nagy kedére (for his own great pleasure)

αοενι̣[.]εστ > Á' Ő ENNYI üLÉST > áll ő ennyi ülést (he stands up, so many seats)

τοεοκενφκ > TO' E' Ő KÉNYFéK > tol el ő kényfék (pushes away, he is a pleasure-halter/tether)

Így kénnyel, kinek ügye, kel a székből, nagy kedére áll ő, ennyi ülést tol el: ő kényfék. (Well, with pleasure, for whom it's matter raises up from his chair, stands up for his own great pleasure, pushing away so many seats: he is a pleasure-halter/tether.)

AVI 6282; BAD 301381

Paris, Louvre F 24. BF amphora. From Etruria. Affecter. Third quarter sixth

Decoration: A: warriors setting out: a nude warrior; woman; a departing warrior; man; bird; hare. B: a warrior setting out: the scene is similar to A, but the left warrior is replaced by a draped man.

Inscriptions: A: Three nonsense inscriptions, with some imitation letters. B: χαιρε και πιει εμε{1}. [[Correct Mommsen p. 86: vertically: hερμες; underneath, horizontally: χαιρεκαιπιει]]

Commentary: + Frankfurt, Liebieghaus 1512. For the position of the drinking inscriptions see AttScr (1990), 48, n. 43, and 186.

Footnotes: {1} after CVA.

Bibliography: *E. Pottier, CVA Louvre 3, France 4 (1925), III H e, pls. 13,6,9 and 16,1 [[almost invis.]]. — ABV (1956), 347/88. — Para. (1971), 111. — *H. Mommsen (1975), 86/7, pls. 1, 19, 49 [[quite cl.]]. — Add.[2] (1989), 64.

Author: H.R.I. Internal ID: 6518

B:     χαιρεκαιπιειεμε > aGYA ÍR-E Ki ÁLLJa éPÜ'-E JE'ME > Agya ír-e? Ki állja, épül-e jell(e)me? (Is his brain medicine? Who stands it, does his character improves?)

AVI 6285; BAD 301613

Paris, Louvre F 31. BF amphora. Witt Painter. Third quarter sixth

Decoration: A: Judgment of Paris. B: Heracles and Cycnus.

Inscriptions: A: inscribed. B: nonsense: to left of Heracles' right thigh: κσχεχσκσ, retr. To right of his face: κνσν(ϙ)εσ, retr.{1}. To right of (behind) Cycnus' helmet: κϙν(ε)σνq, retr. To lower right of the woman at right: κσεσκσνχσ, retr.

Commentary: I have no readings of A. The letters are in dilute glaze, large and clear. Note that the nu's are not retr., and that the sigmas are.

Footnotes: {1} the koppa could be a phi; see AttScr.

Bibliography: *F. Villard, CVA Louvre 10, France 17 (1951), pls. 11,6,9 and 17,2. — ABV (1956), 313/1. — AttScr (1990), no. 1072.

Author: H.R.I. Internal ID: 6521

B:       κσχεχσκσ > KéSZ üGGYE' úGY SZoKáS > kész üggyel úgy szokás (with accomplished business – the custom is such)

κνσν(ϙ)εσ > KéNY SZűNiK ES > kény szűnik es (the compulsion also ceases)

κϙν(ε)σνq > Ki KéNYES NeKi > ki kényes neki (he who is cockney: for him)

κσεσκσνχσ > KéSSZE' SZűKöS iNGY iS > késszel szűkös ingy is (with accomplished even the free is little)

Kész üggyel - úgy szokás - kény szűnik es. Ki kényes neki késszel szűkös ingy is. (With accomplished business – the custom is such – the compulsion also ceases. He who is cockney for him with accomplished even the free is little.)

And the CoCKNey CyCNus jumped into a lake named after him, when he didn't get the free extra from Phylios, on top of the completed work: “... When all three tasks had been accomplished, Cycnus further demanded an ox which Phylius had won as a prize at certain funeral games. Heracles advised Phylius to refuse this and press for a settlement of his claim with Cycnus who, in desperation, leaped into a lake; thereafter called the Cycnean lake...” (123.i. in The Greek Myths by R. Graves)


AVI 6291; BAD 310309

Paris, Louvre F 53. BF amphora. From Vulci. Group E. Exekias, potter. Stesias (bf.), kalos. Third quarter sixth Ca. 540

Decoration: A: Heracles and Geryon. B: Warrior Leaving Home, in a chariot. Lid: sirens and stags{1}.

Inscriptions: A: along the left margin, facing it: Εχσεκιας εποιεσε. To right of Heracles' forehead: hερακλες. To left of Eurytion's head: Ευρυτιον, retr. Between Geryon's legs: Γερυονε<ς>{2}. Along the right margin, facing it: Στεσιας καλος, retr.

B: To right of the warrior's forehead,: Ανχιπ<π>ος. Below the horses' bellies: Καλ<λ>ιφορα<ς>. To left of the mane of the third horse: Σεμος, retr. To right of the forehead of the fourth horse: Πυρ<ρ>οκομε{3}. Below the bent-down forehead of the second horse: Καλ<λ>ιϙομε. On the lid: to left and right of one siren: two groups of nonsense letters.

Commentary: Two stallions and two mares. On the name Kalliphoras (not Kalliphora) see AttScr. For the horse name Semos see Berlin 1811-1826.

Footnotes: {1} the lid belongs (see Para.). {2} for the omitted sigma, see Threatte (1980), 640. {3} partly restored?

Bibliography: *E. Pottier, CVA Louvre 3, France 4 (1925), III H e, pl. 19,1-3. — Beazley (1931–2), 6/31. — Vigneau (1937), ii, 286-87. — Dev.[1] (1951), 63-64 and 112. — Boardman (1952), 35-37, fig. 23,b. — ABV (1956), 136/49, 686. — Para. (1971), 55. — Add.[2] (1989), 36. — AttScr (1990), no. 128.

Author: H.R.I. Internal ID: 6527

A:      Εχσεκιας εποιεσε > EGYSZÉKű JÁSZ ÉPP OLY ÉSSZE' > Egyszékű jász, épp oly ésszel. (One-balled* Jazygian, exactly the same in mind.)

hερακλες > Ha ERő AKLa ÉSZ > ha erő akla ész (if the pen for force is the mind)

Ευρυτιον > E VeRő VéT ION > e verő vét ion (this beater defaults: in Ionian)

Γερυονε<ς> iGE-RoVÓN E > ige-rovón e (runic word-writing this)

Στεσιας καλος > SZó-ö'TÉS JÁSZoKKAL ŐSi > szó-öltés jászokkal ősi (word-stitching is ancient with the Jassic people)

Ha erő akla ész, e verő vét: ion ige-rovón e szó-öltés jászokkal ősi. (If the pen for force is the mind, this beater defaults: in Ionian runic word-writing this word-stitching is ancient with the Jassic people.)

According to R. Graves (The Greek Myths, 132.3.): “It seems that, about the year 400 BC, this new alphabet, the Greek letter-names of which referred to Celestial Heracles’s journey in the sun-goblet, his death on Mount Oeta, and his powers as city-founder and judge (White Goddess), displaced the Beth-Luis-Nion tree-alphabet, the letter-names of which referred to the murderous sacrifice of Cronus by the wild women (White Goddess).” and (132.4.): “Geryon, a meaningless word in Greek, … appears to be the Goddess’s guardian of the earlier alphabet: in fact, Cronus accompanied by the Dactyls.”. Even though this interpretation of the myth is ever so inconceivable, the above reading confirms it, albeit in the English translation some subtleties are lost, such as the meanings of the verb ölt 'stitch'; 'put out one's tongue', but also the forming of tongues (as languages) is done by stitching together sounds by tongues (as body parts). Phonetic writing is stitching letters into a string.

And not to forget what exactly Εχσεκιας is telling us: the Ionic/Iassic people are the inventors of the phonetic writing method.

B:       Ανχιπ<π>ος > Ανχιλος > A NéGY ILLÓS > A négy illós (The four runners)**

Καλ<λ>ιφορα<ς> > KALaJ FÓRA > Kalaj fóra (kósza fuvarozója) (Rambler's carrier)

Σεμος > Σεπος > SEBÖS > Sebös (Fast/speedy)

Πυρ<ρ>οκομε > BőVéRű ŐKÖME > Bővérű őköme (őkelme) (Plethoric/full-blooded is his excellency)

Καλ<λ>ιϙομε > KALaJ őKÖME > Kalaj őköme (őkelme) (Rambler is his excellency)

* The word egyszékű has two meanings: the man with one chair – doesn’t make sense in naming, but the other meaning: a man with only one ball could be an easily laid on nickname/sobriquet.

** The pictured four horses!

The search engine did mark this amphora as one with nonsense inscriptions, although the text only asserts that the “nonsense” inscriptions on the lid are not recorded, never the less, as one can see, the no-nonsense inscriptions make perfect sense in Scythic/Hun/Hungarian, and they complement the drawings consistent with reason. With these descriptive names we are getting an extra dimension to the inscriptions the Greek names don't even foreshadow.

About the corrected signs (in green): The scientists seek to read individual, “attested” names (even for a horse or dog), I attempt to make the lot into a meaningful, clear and complete phrase/sentence, as one does when reading a handwritten message, or a today's SMS.

AVI 6306; BAD 10871

Paris, Louvre F 90. BF lip cup. From Vulci. Unattributed. Third quarter sixth 550-530

Decoration: Lip: A: a man and a youth preparing a cockfight. B: the like.

Inscriptions: Handle zone: nonsense:

A: (.)εχ(.)(ο)ϝτϝχεχοϝχεχοϝ(χ)ϝοεχε{1}.

B: ϙυεχευγκκ(ϙ)ϝχϝχεκχϝχεχ̣(ν̣)κ̣χευα{2}.

Commentary: B: large and very clear letters. Digamma may be for epsilon. One omicron on A looks like koppa with a very short foot; on B there are definitely two koppas. Pottier, in CVA, thinks the inscriptions may perhaps be imitation of the cackle of the hen. They have sometimes been explained as onomatopoeic: see CVA, Louvre 8, III H e, pl. 77,8, and Hampe (1935–6), 295/23. Neither explanation seems valid.

Footnotes: {1} the reading is a combination of the photo with CVA, fig. 4: CVA, text gives 23 letters, Gerhard [see bibl. in CVA] had given 26. Not all letters are clear. {2} my reading.

Bibliography: *Photo (one side). — *N. Plaoutine, CVA Louvre 9, France 14 (1938), III H e, pl. 86,1-5 (early bibl.). — AttScr (1990), no. 1014.

Author: H.R.I. Internal ID: 6542

A:     (.)εχ(.)(ο)ϝτϝχεχοϝχεχοϝ(χ)ϝοεχε > λεχζ(ο)ϝτϝχεχϙϝχεχοϝ(χ)ϝφεχε > LEGYőZŐ VéTVe üGYE' GYi'Ko'Va üGYÉ' íGY Ő VeGYü'VE FEGYE' > Legyőző vétve ügyel, gyilkolva ügyé(rt) így ő vegyülve fegyel. (The conqueror guards defaulting, killing for the case so thus he disciplines by getting involved/tangled up.)


B:     ϙυεχευγκκ(ϙ)ϝχϝχεκχϝχεχ̣(ν̣)κ̣χευα > ϙυεχευγκκθϝχϝχεκχϝχεχ̣(ν̣)κ̣χευα > Ki VÉDJE VéGe Ki Kö'TSe VeGYe ViGYE Ki GYáVa úGY EGYeN KeGGYE' óVA > Ki védje (annak) vége, ki költse (fogyasztja) vegye, vigye ki gyáva, úgy egyen, keggyel óva! (The one to save it is at an end, the one who consumes it let it take, let the cowardice carry it away to eat it that way, guarded with grace!)

The winners should pay heed to the moral of side A: the enforced peace impairs the winner's credit! (It maybe worth to mention that in Hungarian the words BéKe (peace) and BéKó (shackle) are of the same word-root, as well as the words BuKó (subdued) and BaKó (hangman), suggesting how the unforgiving victor gives way to the cesspit he supposedly fought against.)

AVI 6340; BAD 301104

Paris, Louvre F 150. BF pyxis. Related to Sakonides{1}. Third quarter sixth 550-530

Decoration: a horseman and a warrior setting out; arming; a horseman and youths.

Inscriptions: Numerous nonsense inscriptions in small letters: σ<κο v. εσ. γχο(ν)ιχομινοι. Vertical: οσιγειχ. εουιο. ειχεσ. χογει. And many more. Some letters are kion.

Commentary: This vase belongs to a group of vases with nonsense inscriptions, not all by the same hand; but the Sakonidean head cups are also not written by the same hand (see AttScr). The nu is reversed.

Footnotes: {1} probably by the same hand as the signed band cup, Tarentum, ABV 171, bottom (ABV).

Bibliography: *Photo. — *Rumpf (1937), pl. 12,a. — ABV (1956), 172. — Para. (1971), 71. — AttScr (1990), no. 259.

Author: H.R.I. Internal ID: 6576


σ<κο εσ > σ{Λ DűL}κο εσ > SZeLíDüL oKO' ÉSZ > szelídül okol ész (the mind placidly reasons)

γχο(ν)ιχομινοι > GöGYÖN ÍGY Ó MIN OLY > gögyön így ó min oly (on chit-chat, guarding this way on what)

οσιγειχ εουιο ειχεσ > ŐSi IGE JOGa É' ÓVi JÓ' E ÜGYES > ősi ige joga él óvi jól e ügyes (ancient word's right lives, guards it well this clever)

χογει > üGYÖGÉLJ > ügyögélj (Do jack around!)

Szelídül okol ész gögyön (locsogáson), így ó min oly ősi ige joga él, óvi jól e ügyes. Ügyögélj (enyelegj)! (The mind placidly reasons on chit-chat, guarding this way on what ancient word's right lives, guards it well this clever. Do jack around!)

The transliteration of “many more” inscriptions are missing due to a prejudiced labelling of them by the scientists, and unfortunately, I'm not in the position to obtain a facsimile drawing of the pyxis.

AVI 6363; BAD 301806

Paris, Louvre F 286. BF hydria. Priam Painter. Last quarter sixth 520-510

Decoration: Shoulder: Warriors Leaving Home, with a man mounting a chariot. Body: Heracles and Triton, with two Nereids.

Inscriptions: Shoulder: nonsense, widely spaced: to right of a man at the chariot: κοικοσ. Below the horses' bellies: χασ. To right of the horses' forelegs: τον. Between the legs of a hoplite and a man at right: λον. Body: on either side of the left Nereid's head: κο^νικοι. Within the coils of Triton's tail: κο. Between Heracles' and the right Nereid's legs: σικολλσ. Above their heads: τιμυσ{1}. Under the foot, Gr.: V plus alpha with extended cross bar having short verticals; eta with two short horizontals; also a trace of a red Dip.: see Johnston (1979), 129/8E 36, 140/13E 19, and 182/72. The first two signs are also found in Hackl (1909), no. 139, the third in Hackl (1909), no. 150.

Commentary: Several inscriptions look like miswritten proper names. The above readings are from CVA. My own readings differ somewhat: Shoulder: above the chariot and horses: ι̣ονικο(ς), the last letter unclear. Below: three short vertical inscriptions: χασ. χοσ. τοσ, retr. Body: above the left Nereid's head (with the head intervening): κο^νικοσ. In Triton's tail: κο (complete). Below his body: σιγ̣ο^λ^(ν)σ^ (feet interfere). Above Heracles and the right Nereid, very clear: τιμλσ. Hasty brush strokes.

Footnotes: {1} an accidental dot after the iota.

Bibliography: Hackl (1909), (see C). — *E. Pottier, CVA Louvre 6, France 9 (1929), III H e, pls. 68,3-5 and 69,1. — ABV (1956), 333/28. — Para. (1971), 146. — Johnston (1979), (see C). — Add.[2] (1989), 90.

Author: H.R.I. Internal ID: 6599

Sh:     κοικοσ > oKOLJa oKOS > okolja okos (the clever one lays the blame)

χασ τον λον > GYÁSZ úTON áLLÓN > gyász úton állón (mourning is on the one preparing for journey)

Okolja okos: gyász úton állón! (The clever one lays the blame: mourning is on the one preparing for journey!)

Body: κο^νικοι > κο^νικοσ{Commentary} > oKO' iNNI oKOS > okol inni okos (the clever one gives excuse to drink)

κο > Ki Ő > ki ő (Who/what is that?)

σικολλσ > SZŰ oKOL iLLőS > szű okol illős (the heart gives the right excuse)

τιμυσ > τι{ToS/Z}μυσ{1} > TÜTüS MűVeS > tütüs műves (boozer's false)

V+alpha with extended cross bar+eta > V{A+Χ}Η > VÁGYa Hí > vágya hí (desire calls)

Okol inni okos. Ki ő? Szű okol illős, tütüs műves vágya hí! (The clever one gives excuse to drink. Who/what is that? The heart gives the right excuse, boozer's false desire calls!)

AVI 6368; BAD 41414

Paris, Louvre F 324. BF oinochoe (olpe). From Nola. Unattributed{1}. Last quarter sixth Ca. 515 (Fournier-Christol).

Decoration: A girl approaches a fountain, where a hydria is being filled (Pottier: Polyxena); branches.

Inscriptions: To left of the lion head, not facing it: δεχε{2}. To right of the girl's chest, not facing her: τεδε, retr. Above, and a bit to left of, the hydria: πρεχε, retr.{3}.

Commentary: = N 3387. F.-C. reads: δέχε, τέ<ν>δε μάεο: `take - this - fill' (no source for this is given). Clearly Leagran nonsense; but could they be mock inscriptions, recalling δεχου, τε<ν>δε and παρεχε(?). Large clear letters.

Footnotes: {1} outskirts of Leagros Group (Villard). Beazley is said to compare: Vatican G 47; Würzburg 342; Oxford 225; Würzburg 345. {2} this could be read retr. {3} or, perhaps better: πδεχε.

Bibliography: Gerhard (1840–58), pl. 5. — Kretschmer (1894), 89. — Pottier (1897–1922), iii, 805. — *Fournier-Christol (1990), 89f./24, pls. 15 [[quite cl.]] and 18 (much old bibl.).

Author: H.R.I. Internal ID: 6604

δεχε > üDE üGYE' > üde ügyel (peachy is careful)

τεδε > iTT ÉDDE' > itt éddel (here with sweetness)

πρεχε > PáR EGYE' > pár egyel (couples pack together)

Üde ügyel itt éddel, pár egyel (összeverődik). (Peachy is careful here with sweetness, couples pack together.)

AVI 6369; BAD 302387

Paris, Louvre F 328. BF oinochoe (olpe). Unattributed; Class of Reversed Palmettes (Fournier-Christol). Last quarter sixth 510-500 (Fournier-Christol).

Decoration: Armed Athena facing a fawn.

Inscriptions: Nonsense: scattered letters: on upper left of the shield: χ[.]εο. At lower left: λο(.){1}. To Athena's lower right, facing her: (ν)δνε{2}.

Commentary: Leagran lettering.

Footnotes: {1} the last letter is a rectangular blob: ε(?). {2} the first letter is unclear. The delta could be a triangular rho.

Bibliography: Pottier (1897–1922), iii, 805. — ABV (1956), 382/5. — Add.[2] (1989), 101. — *Fournier-Christol (1990), 98/37, pls. 23 and 25.

Author: H.R.I. Internal ID: 6605

χ[.]εο > üGYe'NÉ Ő > ügyelné ő (she would pay attention)

λο(.) > λοΗ{1} > iLLŐ Ha > illő ha (if appropriately)

(ν)δνε > σδνε{2} > eSDENÉ > esdené (one would beseech/beg her)

Ügyelné ő, illő ha esdené! (She would pay attention, if one would appropriately beseech/beg her!)

6382; BAD 201044

Paris, Louvre G 4 bis. RF cup{1}. Nikosthenes Painter. Last quarter sixth

Decoration: Int.: komast. A: warriors and horsemen. B: youths with horses.

Inscriptions: Int.: nonsense: around the tondo: at left: νσhοσε. At right: νοσε{2}. A: on one shield: device, a raven, and: ο(σ)ο(.){3}. On the other shield: device, a crowing rooster and an illegible inscription.

Commentary: Pottier's supplement of Hischylos (see below) is clearly wrong. Nevertheless, the first word looks like an illiterate attempt of writing εποιεσεν. It calls to mind London B 209, by Exekias, with the inscriptions Αμασις and ΑΟΙΗΣN (Attic sigma); see AttScr (1990), no. 134. However, the imitation of epoiesen may have to be abandoned if Giroux is right (in CVA, France 28) in suggesting that the cup may be by Pamphaios and the foot fr., Louvre Cp 11,254 [q.v.], signed Pamphaios, may be its foot; a less likely possibility is to connect the foot with Louvre G 69, q.v.

Footnotes: {1} the foot is missing (see above). {2} Pottier gives: nonsense: [--]γος νσhοσε. He thought that the intention may have been to write: [hισχυ]λος εποιεσε, whence he suggests Hischylos as a supplement for Louvre G 4 also. Beazley says (without giving a text): "The inscriptions are meaningless." {3} the sigma is z-shaped (facs.); the last letter is a blob.

Bibliography: *Pottier apud Walters (1909), 117. — *ARV[2] (1963), 125/16. — *H. Giroux, CVA Louvre 19, France 28 (1977), pls. 74,1-2, 75,1-3. — Add.[2] (1989), 176.

Author: H.R.I. Internal ID: 6618

Int.:    νσhοσε > Nő SeHO' SE > nő sehol se (woman is nowhere)

νοσε > NŐSSE' > nőssel (with married man)

Nő sehol se nőssel! (Woman is nowhere with married man!)

A:      ο(σ)ο(.) > ο(σ)ο{ToS/Z}{3} > OSZO'TaSS > Oszoltass! (Do dismiss them!/Make them break away!)

AVI 6416; BAD 200182

Paris, Louvre G 41. RF hydria. From Vulci. Unattributed Pioneer. Last quarter sixth 510-500

Decoration: Shoulder: a chariot, and warriors getting ready. Body: Dionysus with Ariadne; Poseidon with Amphitrite; Hermes.

Inscriptions: Shoulder: to left of the left warrior's face, facing him: Χαρες, retr. To right of a youth's face: Σοστρατο[ς], and below: χαιρε{1}. (ο)ασ{2}. Near an archer: χαιρέτο̅{3} and Ευ(θ)υμίδες{4}. Body: hερμες, χα[ιρε]. Διονυ{5}. Διο(ν)υσος. Ποσειδ[ον]{6}. Under the foot, Grr.: ΛΗ [[lig.]] and ΧΥΙ [the upsilon is V-shaped, the iota in two lines] plus eta sideways and shaped like `h'. Differently CVA.

Commentary: For parallels to the shape and style of the vase, see ARV[2], especially Philadelphia Market + Florence1 B 15 and New York 21.88.2. Theta lacks the dot. One nu is reversed.

Footnotes: {1} Beazley takes the two words together. {2} nonsense; the first letter is a round blob (ARV[2]). {3} the first four letters upside down (retr.). Cf. also Threatte (1996), 460. {4} The letters Ευθ and ιδ are upside down (retr.) [so after CVA]. {5} a false start (ARV[2]). {6} CVA gives an extra χαιρε on the shoulder beneath the horses' bellies.

Bibliography: Hackl (1909), 40/423. — *E. Pottier, CVA Louvre 6, France 9 (1929), III I c, pl. 51,1-5 (readings are superseded). — *Beazley (1929a), 363-34 (after Pottier (1897–1922), ...., pl. 92). — *ARV[2] (1963), 33/8 (von Bothmer's readings after a cleaning), 1609. — Johnston (1979), 152/2F 37. — LIMC i (1981), pl. 584, Amphitrite 46. — Add.[2] (1989), 157. — AttScr (1990), no. 420.

Author: H.R.I. Internal ID: 6652

Sh:     Χαρες > áGYA üRES > ágya üres (his bed is empty)

Σοστρατο[ς] > SZÓ' SaTRATÓS > szól satratós (calls out layabout)

χαιρε > áGYALJ őRRE' > ágyalj őrrel (the bed with guardian)

(ο)ασ > {T_S/Z}ασ{2} > ToSZÁS > toszás (coitus)

χαιρετο > aGYA' ÍRó ETTŐ' > agyal író ettől (muses the writer from it)

Ευ(θ)υμίδες{4} > Ευ(θ)λ* μ ίδ ες{4} > E ViCCeL íM ÜDe ÉSZ > e viccel ím üde ész (with this droll, look, the mind is fresh)

Ágya üres, - szól satratós (csavargós). Ágyalj őrrel toszás, - agyal író ettől. E viccel, ím, üde ész! (His bed is empty, - calls out layabout. The bed with guardian is coitus, - muses the writer from it. With this droll, look, the mind is fresh.)

Body: hερμες, χα[ιρε] > HÉRe MESe aGYA' [ÍRRE'] > hére mese agyal [írre] (For fierceness fable muses on [with medicine])

Διονυ > De JÓ NőVe' > de jó nővel (but with a good woman)

Διο(ν)υσος > üDÜ' ÖNVáD ŐS > üdül önvád ős (self-reproach cures, the old)

Ποσειδ[ον]{6} > BŐSZE IDŐN > bősze időn (grim on time)

ΛΗ [[lig.]] + ΧΥΙ [iota in two lines] + eta sideways and shaped like `h' > {Λ+Η}ΧΥ{K_T}{η DőL}** > eLHaGYVa oKáT ÉDüL/IDüL > elhagyva okát édül/idül (dismissing its reason gets sweeter/better)

Hére mese agyal [írrel], de jó nővel üdül önvád, ős bősze időn elhagyva okát édül/idül. (For fierceness fable muses on [with medicine], but with a good woman self-reproach cures, the old grim on time dismissing its reason gets sweeter/better.)

The text agrees with R. Graves description of Dionysos in the New Year celebration as Ariadne's kingly lover: “The Cypriots worshipped Ariadne as the ‘Birth-goddess of Amathus’, a title belonging to Aphrodite. Her autumn festival celebrated the birth of the New Year; and the young man who sympathetically imitated her pangs will have been her royal lover, Dionysus. This custom, known as couvade, is found in many parts of Europe, including some districts of East Anglia.” (The Greek Myths, 98.9.)


* The fourth letter, V is also upside down, that is Λ.

** “iota in two lines” = II = KéT/KeTTő (two); “eta sideways and shaped like `h' ” = η tumbles = DőL}.

AVI 6419; BAD 200156

Paris, Louvre G 44. RF amphora. From Vulci. Euthymides. Damas (II), kalos. Last quarter sixth 510-500

Decoration: A: a young warrior mounting a chariot. B: a woman, a youth and a man.

Inscriptions: A: to right of the young warrior's chest: Δα[μ]ας. Elsewhere: χαι[ρε] and Σοσις{1}. χαρχ(ν). B: in the field: χαιρετι{2}. [...]ας, retr. Under the foot, Grr.: twice AVT [[lig.]] in ligature; see Johnston (1979), 90/2 B,12, fig. 3,s.

Commentary: Now cleaned (Bothmer apud Add.[2]). Beazley in AJA notes that Euthymides, and not only the Kleophrades Painter, uses nonsense inscriptions [χαρχ(ν) is one].

Footnotes: {1} for Σοσι<α>ς(?). But cf.PA 13,280 and Pape. {2} the last two letters (if correctly reported in CVA) are upside down. "χαιρε followed by τι," Beazley. [This may be a nonsense ending.] For another speculation on the reading χαιρετι, see Threatte (1980), 144 (iota for epsilon?).

Bibliography: *E. Pottier, CVA Louvre 5, France 8 (1928), III I c, pl. 29,1-6. — *Beazley (1936a), 106, n. 8. — *ARV[2] (1963), 27/3. — Add.[2] (1989), 156. — AttScr (1990), no. 371.

Author: H.R.I. Internal ID: 6655

A:       Δα[μ]ας > Δα[Γ]ας > DA[G]ASZ > da[g]asz (plugger)

χαι[ρε] > áGGYA' Já[R-E] > ággya' já[r-e] (does it comes with bed?)

Σοσις > SZÓ SÜSü > szó süsü (word queer)

χαρχ(ν) > aGYÁRa GYüN > agyára gyün (comes the word to the brain)

Da[g]asz (dugasz) ággyal já[r-e]? - szó süsü agyára gyün. (Does plugger comes with bed? - comes the word to the brain of the queer.)

B:     χαιρετι > aGGYA' ÍR E TŰ > Aggyal ír e tű! (This needle/stylus writes with brain.)

        twice AVT [[lig.]] > AVT AVT > AVaTó AVíT/AViTT > Avató avít/avitt. (Initiator ages/makes one old/antiquated.)

AVI 6421; BAD 200197

Paris, Louvre G 49. RF hydria (kalpis). Unattributed Pioneer{1}. Last quarter sixth

Decoration: Komos: at left, a woman playing the flutes; in the center, a man dancing with krotala; at right, a dancing youth.

Inscriptions: Nonsense: between the faces of the man and the girl: χολε, retr. Between their lower legs: ιοπε, retr. Between the males' backs, facing the man: χοτλε̣[...?]. To right of the youth's body: χλε.

Commentary: + a Louvre fr. In ARV[2], Beazley gives the predecessors of such kalpides and says that the Kleophrades Painter continues them. For this use of nonsense inscriptions, see AttScr (1990), 71 n. 35 and Antikensammlung ... Berlin, Euphronios und seine Zeit (colloqu. Berlin 19-20 April 1991) 53.

Footnotes: {1} recalls the Pezzino Group (ARV[2]); in V.Pol. (1928), 15 n. 3 attributed to Euthymides.

Bibliography: *Photo. — *E. Pottier, CVA Louvre 6, France 9 (1929), III I c, pl. 52,2-3. — ARV[2] (1963), 34/15. — Add.[2] (1989), 157.

Author: H.R.I. Internal ID: 6657

χολε ιοπε > íGY ÖLE JOBB-E > Így öle jobb-e? (Is her lap better this way?)

χοτλε̣[...?] χλε > íGY ÖTLE[T] GYúL-E > Így ötle[t] gyúl-e? (Does inspiration/brainstorm ignites this way?)

AVI 6423; BAD 200193

Paris, Louvre G 51. RF hydria (kalpis). From Etruria. Near Dikaios Painter. Last quarter sixth

Decoration: Komos: an ithyphallic youth playing the flutes; a woman urinating into a basin.

Inscriptions: Nonsense: between the heads: λσπ^χσχσ{1}. To right of the woman's back: χλχχπ.

Footnotes: {1} a cloth (?) held up by the woman intervenes.

Bibliography: *E. Pottier, CVA Louvre 6, France 9 (1929), III I c, pl. 53,1,4. — ARV[2] (1963), 32/1. — Para. (1971), 508 (comparison).

Author: H.R.I. Internal ID: 6659

λσπ^χσχσ > LeSBe' üGYeS íGY iS > Lesben ügyes így is. (His clever in lurking this way also.)

χλχχπ > GYúL íGY aGYBa'/áGYBa' > Gyúl így agyban/ágyban! (He turns out in heat this way in brain/bed!)

AVI 6428; BAD 202056

Paris, Louvre G 60. RF Panathenaic amphora. From Etruria. Nikoxenos Painter. Last quarter sixth 510-500

Decoration: A: Athena at an altar. B: a priest making libation at an altar.

Inscriptions: Four nonsense inscriptions on A and B, each: in thick letters: A: πσερι. ερν(ν)τπ, retr. ιδσ(ν)σ(.). σντhολν. B: χτ>ν(σ)ν. hσνε(γ). ι(π)τε(ν)ν. οστh(ι)(ι)Ι̣{1}. Under the foot, Gr.: ΑΚ. Not in Hackl (1909) or Johnston (1979).

Commentary: The readings are by Langridge. I do not trust the readings given in the text of CVA. Uncertain and variable letter forms.

Footnotes: {1} (.) is a misshapen letter. The `gamma' in the sixth word is of `Ionic' shape, probably a pi. The pi in word seven is reversed; the nu is irregular. The eighth word has two broken iotas followed by an incomplete stroke.

Bibliography: *Note from E. Langridge. — *E. Pottier, CVA Louvre 5, France 8 (1928), III I c, pls. 31,4,7 and 32,1,6. — ARV[2] (1963), 221/9. — Para. (1971), 346. — Add.[2] (1989), 198.

Author: H.R.I. Internal ID: 6664

A:       πσερι > éP SÉRÜ' > ép sérül (the sound one gets hurt)

ερν(ν)τπ > ERéNYéN TöBB > erényén több (on one's virtue many)

ιδσ(ν)σ(.) > ÜDe SZeNNYeSüL > üde szennyesül (gets freshly dirty)

σντhολν > SZeNT/őSZiNTe HO' éLNE > szent/őszinte hol élne (where saint/honest would live)

Ép sérül, erényén több üde szennyesül szent/őszinte hol élne. (The sound one gets hurt, on one's virtue many gets freshly dirty where saint/honest would live.)

B:       χτ>ν(σ)ν > χτ{Λ DőL}ν(σ)ν > eGYüTT éLDeLőN SZeNNY > együtt éldelőn szenny (dirt/grime is on common indulgence)

hσνε(γ) > hσνεπ > HiSZ üNNEP > hisz ünnep (as festivity)

ι(π)τε(ν)ν > ιττεην > ITaT EHHeN > itat ehhen (makes one drink, to this)

οστh(ι)(ι)Ι̣ > οστhυυλ > OSZT HeVéVeL > oszt hevével (deals with its ardour/fire)

ΑΚ > AKó > akó (ako (barrel))

Együtt éldelőn szenny, hisz ünnep itat, ehhen oszt hevével akó. (Dirt/grime is on common indulgence, as festivity makes one drink, ako (barrel) deals to this with its ardour/fire.)

AVI 6430; BAD 200106

Paris, Louvre G 65. RF pelike. From Etruria. Unattributed{1}. Last quarter sixth

Decoration: A: Peleus and Thetis; at right, a fleeing Nereid. B: two nude hoplites fighting.

Inscriptions: Nonsense: A: to left of Thetis' forehead: πσι. ιοχι{2}. B: νισι. Under the foot, Grr.: ligatures: AF [[lig.]] and alpha with a curved line appended (possibly Etruscan CA, Johnston (1979), 240, 1B n. 1).

Footnotes: {1} attributed to Smikros in ARV[2], but the attribution is withdrawn in Para. Johnston (1979), still lists the vase as Smikros. {2} so CVA. According to my note, these inscriptions may be one; at least, they are placed in intervals of parts of the figures: πσι^ v. ι^ο^χι, with one head, one hand, and another head intervening.

Bibliography: *E. Pottier, CVA Louvre 5, France 8 (1928), III I c, pl. 32,8-10. — ARV[2] (1963), 21/5. — Para. (1971), 323. — Johnston (1979), 71/3A 6 and 92/5B 2, fig. 1,e.

Author: H.R.I. Internal ID: 6666

A:     πσι. ιοχι > éPeSZŰ JÓ' eGYÜ' > Épeszű jól együl. (Sound in mind well unites.)

B:     νισι {F+A}{C+R} > aNNYI SZŰ FACSaRó > Annyi szű facsaró (So many hearts are wrigers.)

AVI 6442; BAD 202289

Paris, Louvre G 93. RF cup. From Poggio Sommavilla. Painter of London E 2. First quarter fifth

Decoration: Int.: a black warrior (companion of Memnon). A: Dionysus between two Maenads. B: three maenads.

Inscriptions: Nonsense: Int.: to left of the negro's face: ιωδον. To right of his back: χιμε̣ο{1}. A: between the left maenad and Dionysus: (ν)δχαοι. Above the right maenad's right arm: γαι. Above Dionysus' left shoulder: νδ. B: between the left and middle maenads: (ν)δχι. Between the middle and right maenads: χανιο̣, retr. To right of the right maenad: νχδ̣{2}.

Commentary: The painter is a BF artist, whose work is akin to the Nikoxenos Painter; see ABV and ARV[2]. By the same potter as London E 2. The inscriptions are very similar to vases of the Leagros Group, especially on A and B. This makes one wonder about the date: ca. 500?

Footnotes: {1} so the photo in AJA 39. The omega may less likely be a mu written upside down. The epsilon is unclear. CVA, in the text, puts the two inscriptions together: χιμεονδομι. {2} The exterior after CVA, text.

Bibliography: *A.D. Fraser (1935), 35, pl. 10A (Int.). — ABV (1956), 390/3. — ARV[2] (1963), 225/4. — *H. Giroux, CVA Louvre 19, France 28 (1977), pls. 53,1-4 and 54,1. — Add.[2] (1989), 198. — AttScr (1990), no. 1157.

Author: H.R.I. Internal ID: 6678

Int.:     ιωδον χιμε̣ο > ιωδον χιμϝο{1} > JÓ iDŐN GYŰ' Mi íVÓ/óVÓ > Jó időn gyűl mi ívó/óvó. (What is spawning/guarding collects/accumulates in good times.)

A:       (ν)δχαοι γαι νδ > NeDű iGYA OLY GAJi NeDű > Nedű, igya!, oly gaji nedű. (It's grape-juice (wine), drink it!, it's such an earthy juice.)

B:       (ν)δχι χανιο̣ νχδ̣ >NeDű GYŰ' uGYAN JÓ Ne iGYaD > Nedű gyűl, ugyan jó, ne igyad! (The juice collects, although it is good, don't drink it!)

AVI 6443; BAD 217271

Paris, Louvre G 94 ter. RF cup. Unattributed{1}. Last quarter sixth Ca. 510 (Giroux).

Decoration: Int.: a jumper. A: in the center, Dionysus seated between satyrs, a maenad and donkeys. B: satyrs and maenads dancing.

Inscriptions: Int.: in blotchy letters: at the youth's right: κ(α)λο(ς) and a blotch. Two more blotches to left of the youth. A: nonsense: λολοκλ{2}. B: not inscribed?

Commentary: Formerly listed as Louvre G 94 bis, ARV[2] 80/2 (the same number is on 66/133).

Footnotes: {1} recalls Epiktetos (Beazley): the outside is near Epiktetos, the inside not, but both are by the same hand. On p. 1624 Beazley further compares the vase with Vatican, Astarita 585, and Athens 17,303, CAVI 922, while Giroux says it is by the same hand as New York 22.139.38, attributed to the Circle of the Nikosthenes Painter, ARV[2] 133/15, which makes better sense. {2} so CVA, text.

Bibliography: Bloesch (1940), 57/11. — ARV[2] (1963), 80/2, 1624. — *H. Giroux, CVA Louvre 19, France 28 (1977), pls. 70,1-3 and 71,1-3; foot profile p. 46. — Add.[2] (1989), 169.

Author: H.R.I. Internal ID: 6679

A:     λολοκλ > éLŐ/üLŐ iLLŐKKeL > Élő/ülő illőkkel. (Living/sitting with becoming ones.)

AVI 6451; BAD 200088

Paris, Louvre G 107. RF neck amphora. Smikros (Ohly-Dumm). Euphronios, manner

(Beazley).{1} Last quarter sixth. 510-500 (`Euphr.').

Decoration: A: Heracles. B: an Amazon, shooting.

Inscriptions: A: [hερα]κλεες. On the base on which Heracles stands, in BG: δοκει :* Σμικ‹ρ›οι:* ιναι (for ειναι).{2} B: behind the Amazon: Βαρκιδα. Under the foot, Gr.: ΥΑΙΑΣ.{3}

Commentary: Robertson accepts Beazley's attribution to the manner of Euphronios. Simon discusses the name Barkida, referring to the Barkidae in Carthage and the city of Barka, a colony of Cyrene founded in mid-sixth. She thinks Euphronios was thinking of the Western market. Furtw. in FR ii, 8 suggested that the Heracles on A, as also the Heracles on the Arezzo krater, was inspired by the Heracles Alexikakos of Hageladas; cf. S. Woodford, AJA 80 (1976) 293, pl. 55,3 (dr.). For speculations on the Smikros inscription see Williams.

Footnotes: {2} for long iota = ει see Threatte (1980), 190f. Beazley suggests ναι as an alternative, but that seems unlikely. I take the inscription to be an incomplete kalos-statement of a not uncommon type: hο δεῖνα καλὸς δοκεῖ Σμίκρο̅ι εἶναι, with the first half on a companion piece, as Beazley suggested in BSA, rather than on the same vase (Beazley later suggested [καλος hερα]κλεες, etc., not very happily). The inscription does not prove that the vase was painted by Smikros; that attribution must be based on style. Bothmer calls the base on which the inscription is written a cartellino; but important figures are often placed on bases by the vase painters.

Bibliography: *CV, France 9, III I c, pl. 33,1-4. *FR ii, 8-10 and 335. *Beazley, BSA 18 (1911) 218, n. 1. *Bothmer, Amazons 131/6. ARV(2) 18/1, *1619, Add.(2) 153. *Script 401. *Musée du Louvre, Euphronios (exhib. 9-18 - 12-31 1990) 137/19 (ill.; bibl.). Also in Berlin cat. *D. Williams in M. Denoyelle, ed., Euphronios peintre (1992) 91-92. Robertson, AVCA 299 n. 89. E. Simon in Euphronios und seine Zeit (Colloquium Berlin 19-20 April 1991) 94.

A:       [hερα]κλεες > [HÉRe A]KóL-E ÉSZ > [Hére a]kól-e ész? (Is the mind pen/kraal for fierceness?)*

δοκει : Σμικ̣<ρ>οι : ιναι > δοκει : σμι : οι : ιναι > DŐ' KÉJ : SZeMeJJ : ŐJJ : INAJJ > Dől kéj: szemelj, őlj, inalj! (Pleasure/delight wanes: do make eye (aim), do kill, do run away!)

It is all about fighting a war with bows (nowadays with firearms and bombs), do what you supposed to do: kill the enemy without the pleasure of the face to face fighting, just take aim, kill him and run for your life.

B:       ΒΑΡΚΙΔΑ > VÁR Ki IDe Á' > Vár ki ide áll. (He, who stands here, waits.)

Under her foot is a very clear explanation about her identity:

ΥΑΙΑΣ > Ű A JÁSZ/Í(j)ÁSZ** > ű a jász/íjász (she is the Jassic (Jazygian)/archer (bow-woman).

The Greeks used to call the ΙΑΣ (Jassic/Jazyges) also by their other name: ION.

* If it has anything to do with Heracles, it is indeed his name, which stands for the appearance and representation 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 > Héra külése (the outing of Hera). For this last, see his other name: HERKULES (HÉRa KÜLÉSe). “Hera, vexed by Heracles’s excesses, drove him mad. … the Pythoness then told him: ‘You shall no longer be called Palaemon! Phoebus Apollo names you Heracles, since from Hera you shall have undying fame among men!’ - as though he had done Hera a great service. … When Heracles recovered his sanity, ... and, finally, when the passage of time had somewhat alleviated his pain, he placed himself at Eurystheus’s disposal.” and executed those labours Eurystheus asked for. (R. Graves: The Greek Myths, 122.c, d, e.)

** A bécsi codexben j nélkül áll” CzF. In the Wiener Codex (XIII. cent.) the word is written without j, as ias.

AVI 6458; BAD 205119

Paris, Louvre G 115. RF cup. From Capua. Douris. Kalliades, potter. Hermokreon, kalos. First quarter fifth 490-480 485-480 (Simon (1969), Shapiro). Middle (Buitron-Oliver).

Decoration: Int.: Eos with the body of Memnon. A: Menelaus fighting Paris. B: Ajax fighting Hector.

Inscriptions: Int.: along the left margin, facing in: (ϝ(?))ενεμεκνερινε{1}. Parallel, but also facing in: hερμογενες | καλος{2}. Above Eos' head: hεος : Δορις | εγραφσεν{2}. To right, i.e., below, the face of Memnon, in three lines filling all the space, non-stoich.: Μεμλον, for Μεμνον, and Καλ<λ>ιαδες | εποιεσεν. Ext.: the inscriptions horizontal, near the margin. A: between the woman at left and the back of Menelaus' head: Μενελεος, retr. To left of Paris' face: Αλεχσανδρος, retr. To left of Artemis' face: Αρτεμις, retr. B: to right of Athena's head: Αθε<ν>αι|α{3}. To right of Ajax' head: Αιας. To right of Hector (who faces left): hεκλορ, for hεκτορ. To right of Apollo (who also faces left): Απο{ο}λλον{4}.

Commentary: Type C. Shapiro: Hermogenes may be a member of the Kerykes who were active in the cult of Hermes. Beazley in AJA says there are many mistakes on this vase: Μεμλον, Αθε<ν>αια, hεκλορ, Αποολλον. He also says that he cannot explain the first sign of the mystery word, but suggests for the rest: ἢν ἐμὲ ἐνκρίνηι, `(Hermogenes is fair,) if he count me in.' Guarducci: <h>ένε̅ με κνε̃<ι> ῥίνε̅· hερμογένε̅ς καλός. "Da gran tempo mi raschia [scrapes] una lima [file]: Ermogene bello." M.G. Kanowski gives a list of previous explanations of the mystery word: Fröhner: ἓν ἐμὲ ἐνέκρινε Ἑρμογένες καλός. Dümmler: ἢν ἐμὲ κνῆ<ι ἡ> ῥίνη = αἰδοῖον. Zingerle: θεῖν' ἐμ' ἧκ<ε>ν Ἠρινή = Eos. Beazley: [see above.] Kanowski: Hermogenes is a fine fellow if he tickles (scratches?) my nose. Notes nose rubbing in some cultures [but not in Greece!]. I took down: ἢν ἐμὲ κνῆ<ι> ῥίνη - but that should be ἐμοὶ κνῆ<ι> ῥίνη<ν>(?). M.I. Davies (1982), 115-18: gives the first letter as an upside down dotted F. Davies supports Kanowski's ἢν ἐμὲ κνῆ<ι> ῥίνε.The last word is dual = nostrils. `if he tickles or scratches my nose.' DeVries tr. the mystery word: "Wow! he scrapes away at me with a file!" See also Threatte (1996). For Hermogenes: see LGPN ii, s.v. 1-3; B.-O. 43 and n. 287 refers to attempts to identify the kalos with the dedicator of a bronze statue (1/4 5), IG i/3. 559. For the misspellings see also B.-O. Dotted delta; tailed rho.

Footnotes: {1} I do not know what the first letter of the mystery word is, but I doubt its being a digamma; I think the word is not nonsense, but badly miswritten. {2} is stoich. intended in these two inscriptions? Δορις and εγραφσεν are lined up. {3} the final alpha is placed under the first. {4} this reading is taken from the photo, fig. 144, in Arias–Hirmer–Shefton (1962) and needs to be verified; the doubling of omicron is due to an intervening tendril; the last letter, for similar reasons, is written under the second lambda.

Bibliography: DeVries (unpublished). — *Beazley (1960), 219/I (the kalos-inscription). — *Arias–Hirmer–Shefton (1962), pls. 144-45. — ARV[2] (1963), 434/74 (much bibl.), 1653. — Para. (1971), 375. — Kanowski (1978), 549ff. — Guarducci (1980), 16-20. — M.I. Davies (1982), 115-18 (bibl). — Add.[2] (1989), 237 (much bibl.). — Shapiro (1989), 130. — *AttScr (1990), no. 536, fig. 116. — *Buitron-Oliver (1995), 31-32, 45, 61, 80/119, pls. 71 and 146. — Threatte (1996), 124, 644 and 737.

Author: H.R.I. Internal ID: 6694

Int.:    (ϝ(?))ενεμεκνερινε > VÉN-E ME' KöNNY ÉRI eNNÉ' > vén-e me(rt) könny éri ennél (Is one old just because tears brimmed one's eyes at this?)

hερμογενες | καλος > Ha ERő MöGÉN ÉSZ KiÁLLÓS > ha erő mögén ész kiállós (if there is outstanding force behind the mind)

hεος : Δορις | εγραφσεν > Ha E ŐS DŐRe IS ÉGőRe A FaSZÉN > ha e ős dőre is égőre a faszén (if this ancestor buggy/half-wit as well, it is charcoal on burning fire)

Μεμλον > ME' MúLÓN > me(rt) múlón (because by being on the wane)

Καλ<λ>ιαδες | εποιεσεν > KALaJA éDES E BOLYó ESZÉN / (ÉPP OLY E SZÉN) > kalaja édes e bolyó eszén / (épp oly e szén) (his roving is sweet on the mind of this droll / (exactly the same is this (char)coal))

Vén-e me(rt) könny éri ennél? Ha erő mögén ész kiállós, ha e ős dőre is, égőre a faszén, me(rt) múlón kalaja édes e bolyó eszén / (épp oly e szén)! (Is one old just because tears brimmed one's eyes at this? If there is outstanding force behind the mind, if this ancestor buggy/half-wit as well, it is charcoal on burning fire, because by being on the wane, his roving is sweet on the mind of this droll / (exactly the same is this (char)coal)!)

Out of the charcoal of Memnon's bonfire, his spirit is roving around as a folk of birds: “... A number of phantom hen-birds, called Memnonides, were consequently formed from the embers and smoke of his pyre, and rising into the air, flew three times around it. At the fourth circuit they divided into two flocks, fought with claws and beaks, and fell down upon his ashes as a funeral sacrifice. Memnonides still fight and fall at his tomb when the Sun has all the signs of the Zodiac.” (R. Graves: The Greek Myths, 164.g.)


A:      Μενελεος > MÉN ELÉ ŐS > mén elé ős (the elder goes to great him)

Αλεχσανδρος > ÁLL E GYáSZ A Nő iDe ROSSZ > áll e gyász a nő ide rossz (the mourning is on, this woman is bad here)

Αρτεμις > ÁRáT ÉMi IS > árát émi is (she made her price already keep vigil!)

Mén elé ős: áll e gyász, a nő ide rossz, árát émi (virrasztja, világossá teszi) is! (The elder goes to great him: the mourning is on, this woman is bad here, she made her price already keep vigil!)

B:       Αθε<ν>αι | α{3} > A CÉ' ÁLLJ Alá > a cél állj alá (The aim: stand under him!)

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

hεκλορ > HEKKeLŐRe > hekkelőre (on the recoiling one)

Απο{ο}λλον > APO' ÖLeLŐN > apol ölelőn (kisses/touches embracing)

A cél: állj alá. A jász/íjász hekkelőre (hátrálóra) apol ölelőn. (The aim: stand under him! The Jassic/bowman kisses/touches embracing on the recoiling one.)

Indeed, Ajas, out of his mind, tried to kill himself with sword “He fixed the sword—the very one which Hector had exchanged for the purple baldric—upright in the earth, and after calling on Zeus to tell Teucer where his corpse might be found; on Hermes, to conduct his soul to the Asphodel Fields; and on the Erinnyes, for vengeance, threw himself upon it. The sword, loathing its task, doubled back in the shape of a bow, and dawn had broken before he contrived to commit suicide by driving the point underneath his vulnerable arm-pit.” (165.e. in R. Graves: The Greek Mmyths)

AVI 6503; BAD 203069

Paris, Louvre G 196. RF amphora. From Etruria. Troilos Painter. First quarter fifth

Decoration: A: Athena mounting a chariot, with Heracles and a charioteer. B: Dionysus and a satyr.

Inscriptions: A: nonsense: συτι. συεολχσ{1}. Under the alien foot, Gr.: a diagonal stroke and Ε, retr.{2}.

Commentary: In ARV[2] 1643, Beazley points to a workshop connection of the Troilos Painter with the Kleophrades Painter. [If the rendering of the inscriptions in CVA can be trusted, they may be similar to nonsense inscriptions by the early Kleophrades Painter.] Much restored.

Footnotes: {1} so CVA: reliable? {2} not in Johnston (1979). Compared in CVA to Hackl (1909), 22/xvii.

Bibliography: *E. Pottier, CVA Louvre 6, France 9 (1929), III I c, pl. 34,9-10. — ARV[2] (1963), 296/2.

Author: H.R.I. Internal ID: 6739

συτι. συεολχσ > SZíVéTŰ' SZíVVE' OLDJa SZó > Szívétűl szívvel oldja szó. (Word absolves with heart from heart.)

AVI 6506; BAD 205998

Paris, Louvre G 206. RF neck amphora. From Capua. Alkimachos Painter. Second quarter fifth

Decoration: A: a satyr attacking a sleeping maenad. B: a woman running.

Inscriptions: A: two nonsense inscriptions: εο<πα<>μ and τεντσ(σ)hστ.

Commentary: I think this should be a two-liner. The signs < and > probably represent sigmas.

Bibliography: *E. Pottier, CVA Louvre 6, France 9 (1929), III I c, pls. 37,10-11 and 38,6. — ARV[2] (1963), 530/22.

Author: H.R.I. Internal ID: 6742

εο<πα<>μ > εο{Λ DőL}πα{Λ DőL}{DőL Λ}μ > É' ÖL De LaPPAL DőLeD éLeLeM > Él öl, de lappal dőled élelem. (Edge kills, but on its blade well forth the food.)

τεντσ(σ)hστ > TÉNYT SuS HaSíT > Tényt sus hasít. (Susurrus/rustling slashes fact/deed.)



AVI 6521; BAD 204532

Paris, Louvre G 265. RF cup. From Vulci. Painter of Louvre G 265{1}. First quarter fifth

Decoration: Int.: a youth leading a woman away (wedding of Menelaus and Helen?){2}. Ext.: Deeds of Theseus: A: the bull, with a satyr; Procroustes. B: the sow; Sinis.

Inscriptions: Nonsense: Int.: σοιγλοιγ(λ)ιολ{3}. α(λ)γοσιγυι{4}. Ext.: γυιοσι. γλιοι. (Or γυιοι.) οσαγυι{5}.

Commentary: + Florence and Villa Giulia. This type of inscription is characteristic of the Briseis Painter; cf. Beazley in CB.

Footnotes: {1} Mild-Brygan Group. {2} so Beazley. {3} the ninth letter is reversed. {4} the second letter is upside down. {5} the locations on the Ext. are not given.

Bibliography: *CB (1931–63), ii, 40 (mention). — ARV[2] (1963), 416/1. — Add.[2] (1989), 234. — *Serbeti (1989), 41.

Author: H.R.I. Internal ID: 6757

Int.:    σοιγλοιγ(λ)ιολ > σοιγλοιγυιολ{3} > SZÓLJ aGGáLÓ IGéVe' JÓL > Szólj aggáló igével jól! (Talk well with solicitous words!)

α(λ)γοσιγυι / απγοσιγυι{4} > ÁLaGGOS / APo'GÓS IGe éVÜ' > Álaggos / Apolgós ige évül. (Falsely solicitous / Kissing/dallying words lapse.)


Ext.:   γυιοσι > éGiVe' JÓ SZŰ > Égivel jó szű. (Heart is good with heavenly.)

γλιοι / γυιοι > éGGeL / éGiVe' JŐJJ > Éggel / Égivel jőjj! (Come with Heaven / heavenly!)

οσαγυι > ÓSÁG éVÜ' > Óság évül. (Old fogydom lapses.)

AVI 6548; BAD 217553

Paris, Louvre G 433. RF pelike. From Nola. Painter of Louvre G 433. Last quarter fifth

Decoration: A: Dionysus between, on each side, a pair of a satyr and a maenad. B: two youths and a boy.

Inscriptions: A: Above the group at left: Διον(α){2}. Above the group at right: σιοασ(?){3}.

Commentary: This vase does not seem to be mentioned by C. Fränkel (1912), 54 and nos. θ, κ, and μ. The readings, taken from CVA's text, are highly suspect.

Footnotes: {1} see ARV[2]; fig. 6 is wrongly labeled 4 in CVA. {2} for Dione as a maenad name, see Kossatz-Deissmann (1991), 178 (this vase not listed). {3} the name of a satyr or nonsense?

Bibliography: *E. Pottier, CVA Louvre 8, France 12 (1933), III I d, pl. 43,4,7-11{1}. — ARV[2] (1963), 1342/1. — Para. (1971), 482.

Author: H.R.I. Internal ID: 6784

Διον(α) σιοασ(?) > Διον(α) σιθασ > DőJJÖN A SZITTYÁS > Dőjjön a szittyás! (Let the scythic (wine) stream!)



AVI 6549; BAD 207774

Paris, Louvre G 434. RF pelike. From Nola. Ethiop Painter. Second quarter fifth

Decoration: A: Gigantomachy: Dionysus fighting a giant. B: a youth with his stick.

Inscriptions: A: nonsense: to right of Dionysus' head, above the giant: γσνοιι{1}. Between the figures: υ(χ)οιι{2}.

Commentary: A small vase.

Footnotes: {1} the first two letters from CVA, fig. 2, the rest from the text; but the photo seems to show different letters for these also. {2} so the photo, the second letter resembling an `Argive' lambda. CVA prints: NΧΟΙΙ.

Bibliography: *E. Pottier, CVA Louvre 8, France 12 (1933), III I d, pl. 44,1-4. — ARV[2] (1963), 665/3.

Author: H.R.I. Internal ID: 6785

γσνοιι > γσνο{K+T}* > aGGóSaN OKíT > Aggósan okít. (S/he educates apprehensively.)

υ(χ)οιι > NΧΟΙΙ{2} > NΧΟ{K+T} > NaGY OKíT > Nagy okít! (The big/great one educates!)

* II stands for the ligature {K+T}: II=KéT/KeTTő 'two'!

AVI 6557; BAD 215758

Paris, Louvre G 496. RF bell krater. Pothos Painter. Last quarter fifth

Decoration: A: a sacrifice to Apollo: a youth holding a spit over the fire; a priest at the altar; a tree; a youth pouring a libation; Apollo. B: three youths.

Inscriptions: A: nonsense: imitation letters: four groups of letters are represented in CVA, unreliable and not repeated here. The photo in CVA shows illegible letters: above the head of the left youth; to right of the priest's mouth; and to right of the right youth's head. Under the foot, Gr.: κρατερες : ΠΙ:ΙΙΙΙ οξιδες : ΔΔΔΔ:|- οξυβαφα : ΠΔ: ΙΙΙΙ [[ΠΔ lig.]]. Also a line across the foot.

Commentary: A price inscription.

Bibliography: *Hackl (1909), 54/597 and p. 69, pl. 3. — *E. Pottier, CVA Louvre 5, France 8 (1928), III I d, pl. 35,2,4. — Amyx (1941), [[passim]]. — Jongkees (1951), [[passim]]. — Amyx (1958), 289-92, pl. 52,c (after Hackl). — ARV[2] (1963), 1190/24, 1686. — *Johnston (1979), 113/18C 74 and 161/14F 3. — Add.[2] (1989), 342.

Author: H.R.I. Internal ID: 6793

κρατερες : ΠΙ: > aKaRAT ERe ÉSZ > akarat ere ész (the break for will is the mind)

IIII* οξιδες : ΔΔΔΔ: > {N+GY} οξιδες : ΔΔΔΔ: > iNNi íGY OK SZiDó ÉSZ DöDDő üDe ó'D > inni így ok szidó ész döddő üde old (the reason to drink is the scolding/opprobrious mind, because the half-witted readily makes one free)

οξυβαφα : > οξυβαθα : > Ő KöZiVóBA CSA' > ő közivóba csal (lures one into public wet-canteen)

ΠΔ: ΙΙΙΙ [[ΠΔ lig.]] > ΠΔ: {N+GY}{P+D} > ePeDő iNNi íGY aPaD > epedő inni így apad (thirsting to drink lessens this way)

Akarat ere ész. Inni így ok szidó ész: döddő üde old, ő közivóba csal, epedő inni így apad. (The break for will is the mind. The reason to drink is the scolding/opprobrious mind, because the half-witted readily makes one free by luring one into public wet-canteen, thirsting to drink lessens this way.)

* IIII stands for the ligature {N+GY}: IIII=NéGY 'four'!

AVI 6564; BAD 10894

Paris, Louvre C 52. Frs. of BF lip cup. From Italy. Unattributed [[Group of Vatican G 61 (Beazley on the sheet in the BA, 10.03.2003)]]. Third quarter sixth

Decoration: Lip: A: two panthers or lions facing, between remains of an uncertain object which is mostly missing. B: panther and panther or lion, facing; between them, partially preserved, an uncertain object of an odd shape.

Inscriptions: Handle zone: A: χαιρε και πρ[ιο ...?]{2}. B: χαιρε και ΣΟΕΙΚΑ vac.{3}. [[B: this is fr. Campana 52, a single fr., CVA pl. 88.7; A: not found in CVA, but the readings are correct to judge from the phs. in the BA.]]

Commentary: Group of Vatican G 61 (Beazley on the mounting sheet of the photo). For this group see Para. 77, where these frs. are not mentioned. On B: part nonsense. Illiterate? For πριω `buy,' see AttScr (1990), 48. [[60 x 45, Diameter: ?.]]

Footnotes: {1} the number given there seems to be CA 10,254(?). [Cp 52 may be a part of CA 10,254.] {2} the rho is very clear with a large round loop. {3} is this nonsense or miswritten for, e.g., σο<ὶ> εἴκαθον(?).

Bibliography: *Photos in Beazley Archive [[vidit et R.W. 10.03.2003]]. — *N. Plaoutine, CVA Louvre 9, France 14 (1938), III H e, pl. 88,7{1}.

Author: H.R.I. Internal ID: 6800

A:     χαιρε και πρ[ιο ...?] > áGYALJ őRE oKKA' IPaRoLJON … > Ágyalj őre okkal iparoljon … (The bed's guard should withdraw with reason...)


B:     χαιρε και ΣΟΕΙΚΑ > áGYALJ őRE oKKA' ISZO' E LYuKKA' > Ágyalj őre okkal iszol e lyukkal. (The bed's guard with reason scoots/slides with this slit/gap.)

AVI 6567; BAD 42170

Paris, Louvre C 150. Fragmentary BF oinochoe (olpe). Theseus Painter (Fournier-Christol). Last quarter sixth 510-500 (Fournier-Christol).

Decoration: Peleus and Thetis.

Inscriptions: Nonsense: at left, to left of Peleus' right leg: εγ(ο)εσ{1}. on Thetis' right, not facing her: ε(.)^ονον{2}.

Footnotes: {1} the omicron is square. {2} the second letter is unclear. Thetis' arm and hand intervene.

Bibliography: *Fournier-Christol (1990), 105/45, pls. 32 and 34 (no bibl.).

Author: H.R.I. Internal ID: 6803

εγ(ο)εσ > εγΗεσ{1} > ÉG éHES > Ég éhes. (Heaven is hungry.)

ε(.)^ονον > ÉHe ÖNÖN > Éhe önön (benne rejlő). (Its hunger is immanent.)

AVI 6569; BAD 9017843

Paris, Louvre C 10255. Fragmentary BF lip cup. Unattributed. Third quarter sixth

Decoration: Lip: A: two lions facing. B: two grazing does facing.

Inscriptions: Handle zone: nonsense: A: λιλιαια̣ιαι̣γιαι(.). B: α(.)λι̣σ̣γ̣[.]α̣(σ)ε̣ο̣κο̣{1}.

Footnotes: {1} the reading of B is unreliable.

Bibliography: *Photos in Beazley Archive (Ext., parts).

Author: H.R.I. Internal ID: 6805

A:     λιλιαια̣ιαι̣γιαι(.). > éLÜLő JAJJA' JAJGóJa AJaZ > Élülő jajjal jajgója ajaz! (With heighten wailing/ululation its instigator makes oneself ready to fight or flight.)


B:     α(.)λι̣σ̣γ̣[.]α̣(σ)ε̣ο̣κο̣{1}

AVI 6570; BAD 9017844

Paris, Louvre C 10256. BF lip cup. Unattributed. Third quarter sixth

Decoration: Lip: A: two panthers facing, but looking away. B: two grazing does facing.

Inscriptions: Handle zone: A: εποιυειυνιυι(.)υ{1}. B: οιυεπ[ο]ιυει̣υν.

Commentary: For nonsense inscriptions punning on εποιεσεν see AttScr (1990), 44 and n. 30; also nos. 134, 284, and 350. Breaks intervene on A and especially on B.

Footnotes: {1} the penultimate letter is a dot.

Bibliography: *Photos in Beazley Archive (A, B, parts).

Author: H.R.I. Internal ID: 6806

A:     εποιυειυνιυι(.)υ > εποιυειυνιυι{T+S/Z}υ{1} > E BŐJéVE' IVó iNNI VÍ TáSSáVa' > E bőjével ivó inni ví tássával. (With the plenty of this, drunkard fights to drink with his fellow.)


B:     οιυεπ[ο]ιυει̣υν > Ő ÍVE' B[Ő]JéVE' IVóN > Ő ível (kifésül) b[ő]jével ivón. (It sorts out the drinkers with its plenty.)

AVI 6571; BAD 9017845

Paris, Louvre C 10257. Fragmentary BF lip cup. Unattributed. Third quarter sixth

Decoration: Lip: A, B, each: a swan with outspread wings.

Inscriptions: Handle zone: nonsense: A: νσ(.)ευιπευι̣συι(.){1}. B: ευ:ευ:ευλε̣σ{2}.

Commentary: Beazley on the mounting sheet of his photo compares Boston 92.2654. But the inscriptions there seem to contain more sigmas.

Footnotes: {1} the reading is very uncertain. The last letter's existence is doubtful. {2} the reading is better than that of A, except at the end.

Bibliography: *Photos in Beazley Archive (A and B, parts).

Author: H.R.I. Internal ID: 6807

A:     νσ(.)ευιπευι̣συι(.) > νσ(.)ευιπευι̣συι{1} > NőSüLő ÉVIBe' ÉVÜ' SÚLYa > Nősülő éviben évül súlya. (In the year of marriage one's weight/value becomes forfeited.)

B:     ευ:ευ:ευλε̣σ > ÉV ÉVe ÉVeLÉS > Év éve évelés. (The year by eating is keeping up from year to year.)*

* Just this particular inscription, with word separators that make the reading of the sentence unquestionable, should be enough to convince any sound-minded person (including even scientists) about the validity of the applied method of reading these “nonsense” inscriptions. And it also enforces the reading of side A, where again, the two ευ's separates the words into a very clever saying: with marriage one looses his attraction as a potential husband.

AVI 6610a; BAD 200148

Paris, Louvre C 11072. RF neck amphora{1}. Euthymides. Last quarter sixth

Decoration: A: a bearded satyr to right, masturbating into an empty amphora. B: a satyr to right, bending over, with kantharos and wineskin.

Inscriptions: A: Nonsense: between the satyr's tail and left thigh, down: κτε; between his legs, down: γτε; below the amphora, to right of the left leg, at knee height, bearing donward: συιπυ.

Commentary: Done from Lissarrague. Attic alphabet.

Footnotes: {1} the handles are missing.

Bibliography: ARV[2] (1963), 27/7 (no bibl.). — *Lissarrague (1990a), 79-80, fig. 66 (sketch of A, with inscriptions, based on Chuzeville ph.).

Author: H.R.I. Internal ID: 6849

κτε γτε > KéTE' éGeT-E > Kétel éget-e? (Does doubt excites you?)

συιπυ > SaVóJa BŰ > Savója bű. (Its whey is spell/bountyful.)

AVI 6648; BAD 9017859

Paris, Louvre C 12665. Fragmentary BF oinochoe (olpe). Peintre des Ménades à bouc (Fournier-Christol); Class of Reversed Palmettes{1}. Last quarter sixth 510-500 (Fournier-Christol).

Decoration: A maenad seated on a goat.

Inscriptions: Under the goat's belly, nonsense: σονι. Under the foot, Gr.: ΧΝ.

Commentary: The `reversed palmettes' are upside-down. Bouc: a he-goat.

Footnotes: {1} both attributions are by F.-C. Not in Beazley, I think.

Bibliography: *Fournier-Christol (1990), 95/32, pls. 20 and 25; facs. of Gr., p. 95 (no bibl.).

Author: H.R.I. Internal ID: 6889

σονι ΧΝ > SÓ öNNI aDJa iNNi > Só önni adja inni. (Salt to eat makes one drink.)

AVI 6649; BAD 9017858

Paris, Louvre C 12668. Fragmentary BF oinochoe (olpe). Painter of Satyr with Wineskin; Class of Reversed Palmettes{1}. Last quarter sixth

Decoration: Gigantomachy: Athena and a giant.

Inscriptions: Nonsense: at right: [...](σ)ντενε vacat{2}.

Footnotes: {1} both attributions are by F.-C. Not in Beazley., I think. {2} the sigma is perhaps an iota.

Bibliography: *Fournier-Christol (1990), 97/36, pls. 23 and 25.

Author: H.R.I. Internal ID: 6890

[...](σ)ντενε vacat > [...]ιντενε{2} > INTENE > intene (… one would admonish somebody)

AVI 6650; BAd 41937

Paris, Louvre C 12696. Fr. of BF oinochoe (olpe). Unattributed. Last quarter sixth 510-500 (Fournier-Christol).

Decoration: Neck, and the top of the picture: top of a warrior leading a horse.

Inscriptions: To left and right of the helmet: nonsense: imitation letters: (γ)^(α)γ(.)γ(σ).

Bibliography: *Fournier-Christol (1990), pl. 31.

Author: H.R.I. Internal ID: 6891

(γ)^(α)γ(.)γ(σ) > éG ÁGaBoGaS > Ég ágabogas (Heaven is pronged/branchy.)

AVI 6655; BAD 461

Paris, Louvre CA 598. BF/WG lekythos. From Eretria. Diosphos Painter (Haspels). First quarter fifth Beginning fifth (Rouen Musée Dép.).

Decoration: Heracles and the Hydra: Athena; Heracles cutting a neck of the hydra; at his leg, a crab; at right, Iolaus.

Inscriptions: Nonsense: imitation letters: above Athena's outstretched left arm: ιιυιι. Above one hydra head and to left of Iolaus' head: ιυυι(.)(.).

Commentary: These are not real letters.

Bibliography: Perrot–Chipiez (1914), 690, fig. 376. — Haspels (1936), 233/19. — Brommer (1973), 80/21. — *Rouen Musée Dép. (1982), 224/91.

Author: H.R.I. Internal ID: 6896

ιιυιι > IIυII > {K+T}υ{K+T}* > KiT VaKíT > kit vakít ()

ιυυι(.)(.) > IIIυυI{retr.} > {H+R+M}υυ{_GY}* > HíRe MűVe VéDJe > híre műve védje ()

Kit vakít híre, műve védje! (Whom his/her fame blinds, let his/her work protect him/her!)

* I = eGY 'one' stands for GY (DJ); II = KéT 'two' stands for the ligature {K+T}; III = HáRoM 'three' stands for the ligature {H+R+M}. The second “word” reads retrograde, starting from the mouth of Iolaus.

AVI 6656; BAD 208262

Paris, Louvre CA 599. WG lekythos. From Eretria. Manner of Bowdoin Painter. Ca. 480-470

Decoration: Artemis with phiale, torch and a bull-calf.

Inscriptions: Nonsense: λλσσλσοσ.

Commentary: One sigma is four-stroke.

Bibliography: *Fairbanks (1907), Group A, Class 2/1, 36, fig. 20. — ARV[2] (1963), 691/27. — Add.[2] (1989), 280.

Author: H.R.I. Internal ID: 6897

λλσσλσοσ > eLőL SoSe eLSŐS(éG) > Elől sose elsős(ég). (Novice/leader is never in front.)

AVI 6663; BAD 201088

Paris, Louvre CA 1585. RF cup{1}. From Greece. Unattributed. Pamphaios, potter. Last quarter fifth

Decoration: Int.: symposium: a youth reclining and playing kottabos. Ext.: plain.

Inscriptions: Int.: nonsense: a mock inscription: at left: πναοσε. In the exergue: hαιιοσε{2}.

Commentary: Beazley thought the inscription [he seems to consider the two parts as one], while meaningless, bears a remote resemblance to a signature of Pamphaios. However, there are really two nonsense inscriptions, in two different locations. The vase is attributed to Pamphaios by shape, not because of the inscriptions.

Footnotes: {1} a special model, as Louvre CA 2526, which is signed Pamphaios, and Athens 1409, also signed (see ARV[2] 120/31 and Blösch (1940), 64/13). {2} so CVA and ARV[2]; wrong in Immerwahr (1984).

Bibliography: ARV[2] (1963), 131/bottom (no bibl.). — *H. Giroux, CVA Louvre 19, France 28 (1977), pl. 58,1,3. — *Immerwahr (1984), 351/50 (not ill.). — Add.[2] (1989), 177.

Author: H.R.I. Internal ID: 6904

πναοσε hαιιοσε > NJA ŐSE HA JaJOS E > Bánja őse ha jajos e. (His ancestor regrets it if he is wailing.)

AVI 6666; BAD 46890

Paris, Louvre CA 1837. BF lekythos. Theseus Painter. Late sixth

Decoration: A bull lead to sacrifice: youth to right; bull; a bearded man, with 2 spears behind it, turns to the youth ; a boy to right at the bull's head; a seated man to left, in a temple (two columns, architrave), holds out his staff.

Inscriptions: Nonsense: some imitation letters: [there are 3 inscriptions shown in Haspels' phs.] Between a youth to left of the bull and the bearded man with spears standing behind it; ο(.)(.). Above the boy at the head of the bull: οσ(.)(ρ)ο{1}. Above the head of the seated man: οσ(ϙ)ο{2}.

Footnotes: {1} uncertain reading; distorted in ph. {2} the koppa blurred.

Bibliography: *Haspels (1936), 145, 252/60, pl. 43,2a-b (shows inscriptions).

Author: H.R.I. Internal ID: 6907

ο(.)(.) οσ(.)(ρ)ο οσ(ϙ)ο > οσφ οσε(ρ)ο οσφο{1+2} > ŐSFi ŐSERŐ ŐSFŐ > Ősfi, őserő, ősfő. (Heritor, ancestral force, ancestral leader.)

AVI 6673; BAD 207576

Paris, Louvre CA 2243. RF Nolan amphora From Italy. Nikon Painter. Second quarter fifth

Decoration: A: Psychostasia: Hermes with scales, weighing Achilles and Memnon. B: a woman.

Inscriptions: A: hοϝμισ{1}, for hερμες?

Commentary: Is this a nonsense inscription or miswritten?

Footnotes: {1} an unreliable reading in CVA.

Bibliography: *E. Pottier, CVA Louvre 6, France 9 (1929), III I c, pl. 48,7-9. — ARV[2] (1963), 651/11. — Add.[2] (1989), 276.

Author: H.R.I. Internal ID: 6914

hοϝμισ > HOVa MŰ SZó > Hova mű szó. (Where the word is artificial.)

AVI 6698; BAD 463

Paris, Louvre MNB 905. BF plaque. From Kolias. Sappho Painter. First quarter fifth Ca. 500 (Boardman).

Decoration: Prothesis: a male on a kline surrounded by mourning women; at left, chorus of men, and column. Boardman: the mother rests her right hand by the deceased's head; the small sister mourns by the head of the bier; a taller girl is by the foot; a baby boy is behind her beside a stool; at left, a white column stands before the approaching men.

Inscriptions: Boardman's readings: among approaching men is αδελφος; they are greeted by πατερ, who faces them at the foot of the bier; the μετερ holds her dead son's head [I trust B. is right to call the dead a male]; beside her, her second daughter, αδελφε; at head of bier stands θεθε [for τηθη], the grandmother; three mourners are called aunts, θεθις [for τηθις, father's or mother's sister], one of them, on the father's side, προσπατρ[ρος] [printed as one word by B.]{1}. Also: οιμοι and οιμιοι. λοσυτοσ and λοσυτ are read below the bier and by the column; both words are nonsense; ο[.]ελοσα̣{2} appears before the aunt at the right (the last perserved letter should be alpha, perhaps followed by more), just possible is ωφελουσα, `rendering service,' "or something from the ομηλ- root might fit the context", but it is probably nonsense. Typical of nonsense inscriptions on Sappho Painter's funerary works are: on this plaque: λοσυτ, λοσυτοσ, ο.ελοσα; On Louvre E 734: λοστοστ, λοσ, λοστσ. Acr. 2569: λολοσλοσ, with other inscriptions (this can be used for attr. to Sappho Ptr.) Column krater in Carlsruhe (Haspels 228/57) has: λισλισ, etc. Athens, Vlasto MVB 55 (B., no. 29, q.v.): the inscription corresponding to Louvre MNB 905's λοσυτοσ may be λο...

Commentary: = L 4. The inscriptions done from the photos. They include not only names, but also nonsense inscriptions, perhaps imitating wailing. I am not sure I have read all the inscriptions.

Footnotes: {1} My reading from a photo: (1)προσπατο̣◊̣, i.e. πρὸς πατρό̣[ς], an aunt on the father's side? {2} I read from the photo: οδ̣εγοσυ[--], retr., with space for 3+ letters.

Bibliography: BADB: 463. — *Photos. — Benndorf (1868–83), pl. 1 (dr.). — Sittl (1890), 67, fig. 1. — Kretschmer (1894), 150. — Perrot–Chipiez (1911), 257, fig. 118. — *Zschietzschmann (1928), 40/37, Beilage 11 (very good picture = photo Giraudon 25,827) (bibl.). — Haspels (1936), 229/58. — *Boardman (1955), 62/28. — Kurtz–Boardman (1971), 144, fig. 33. — Boardman (1974), fig. 265. — Gropengiesser (1977), 596-97 and fig. 21 (small) (bibl. n. 51). — CAH 4(2) (1988), plate volume, 167-68, fig. 217. — Shapiro (1991), 630, fig. 1 (shows inscriptions).

Author: H.R.I. Internal ID: 6939

αδελφος > A DELi FŐ iS > a deli fő is (the hero is also)

πατερ > aPA TERü > apa terü (father, burden)

μετερ > Mi E'TÉR > mi eltér (what differs)

αδελφε > A DELi FÉ' > a deli fél (the hero is afraid)

θεθε > CSÉCS-E > csécs-e (Is it (small)pox?)

θεθις > CSÉCS IS > csécs is (It is pox, (and) also)

προσπατρ[ρος] > προσπατο̣◊̣{1} > προσπατεθ > PiROS PATÉCS > piros patécs (scarlet fever)

οιμοι > Ő ÍM OLY > ő ím oly (he is like that)

οιμιοι > Ó IMa JÖJJ > ó ima jöjj (do old prayer come)

λοσυτοσ > iLLŐ SZaVaTÓ SZó > illő szavató szó (assuring word is becoming)

λοσυτ > iLLŐ SZó VéT > illő szó vét (the becoming word is defaulting)

ο[.]ελοσα̣ > ο[φλοσυ[---]{2} > Ő FÉLŐS óVa[TOS] > ő félős óva[tos](he is tremulous, cautious/carefu)

A deli fő is apa, terü (teher) mi eltér: a deli fél. Csécs-e? Csécs (himlő, kanyaró) is, piros patécs (vörös petecs), ő ím oly. Ó ima jöjj, illő szavató szó! Illő szó vét, ő félős, óva[tos]. (The hero is also father, burden what differs: the hero is afraid. Is it (small)pox? It is pox, (and) also scarlet fever (Scarlatina petechialis)*, he is like that. Do old prayer come, assuring word is becoming! The becoming word is defaulting, he is tremulous, cautious/careful.)

* Note that the Latin name has the same word-base as its Scythic/Hun/Hungarian put down in cca. 500 BC!

The picture complemented with the reading of the inscriptions gives a very realistic description of a death scene. The concern of tainting one's children with pox and scarlet fever is natural and much more relevant than the names and/or relationships scientists try to read into the inscriptions. The plaque is, as a matter of facts, a very cleverly designed warning poster for parents calling to sympathise with relatives of people deceased from infectious diseases.

AVI 6699; BAD 203102

Paris, Louvre MNB 909. BF lekythos. From Tanagra (Add.[2]). Diosphos Painter. Early fifth

Decoration: Heracles and the Lion.

Inscriptions: Nonsense: three imitation inscriptions: above Heracles' back: χλυι. Above his head: χτσ(τ)ο{1}. Above the lion's rear: (.)(.)(.)(ρ){2}.

Commentary: Semi-outline. See Haspels 97 for imitation inscriptions by the Diosphos Painter.

Footnotes: {1} the second tau is upside down. {3} triangular and rhomboid blots.

Bibliography: *Photo. — *Haspels (1936), 111, 235/70, pl. 39,1. — ABV (1956), 508/70. — ARV[2] (1963), 301/4, 303/3. — Para. (1971), 248. — Add.[2] (1989), 212.

Author: H.R.I. Internal ID: 6940

χλυι > aGGYaL VÍ > aggyal ví (he fights with brain)

χτσ(τ)ο > χτσλο{1} > íGY TuSoLÓ > így tusoló (the this way tussling one)

(.)(.)(.)(ρ) > μγπ(ρ){2} > MaGaBíRó > magabíró (self-reliant)

Aggyal ví, így tusoló (tusakodó) magabíró. (He fights with brain, the this way tussling one is self-reliant.)

AVI 6701; BAD 1007995

Paris, Louvre MNB 911. WG lekythos. From Athens. Near Diosphos Painter; Class of Side-Palmette Lekythoi; Class LL. First quarter fifth

Decoration: Ajax and Achilles playing a board game (the left figure is young, the right figure, bearded); behind the board, a palm tree; on the board, five pieces on each side.

Inscriptions: Nonsense inscriptions: under the left figure: αχχ(τ)αο{1}. To right of his chest (near the mouth): δχι^χδι{2}. To left of the left man's chest (near his beard): σλοχλ, retr.(?). Under him: υ(λ)ο^χλθχ{3}.

Commentary: Outline. Each figure is `named' and `speaking'. Thompson and Mommsen think A is influenced by the sculptural group of that subject. Haspels 112: "Mock inscriptions in the manner of the Diosphos Painter." "very closely connected with the Diosphos Painter."

Footnotes: {1} feet intervene: αχχ^(τ)α^ο. The `tau' is in the shape of a figure 7, perhaps chi. {2} tree leaves intervene. {3} a foot intervenes.

Bibliography: *Photo. — ARV[2] (1963), 301/1, 303/bottom. — D.M. Thompson (1976), 38 n. 24. — H. Mommsen (1980), 150f. — H. Mommsen (1988), 451 and fig. 5. — Add.[2] (1989), 211.

Author: H.R.I. Internal ID: 6942

αχχ(τ)αο > αχχχαο{1} > A GYaGYa aGYA' Ő > a gyagya agyal ő (The weak in the head brainstorms: he)

δχι^χδι > aD eGYŰ eGYeDI > ad egyű egyedi (adds up uniquely)

σλοχλ > S iLLŐ GYűL > s illő gyűl (and the reality's jumble duly collects)

υ(λ)ο^χλθχ > VaLÓ aGY-LoCSaDJa > való agy-locsadja (the reality's brain-jumble)

A gyagya agyal: ő ad egyű (össze) egyedi s illő gyűl való agy-locsadja (locsadéka). (The weak in the head brainstorms: he adds up uniquely and the reality's brain-jumble duly collects.)

AVI 6709; BAD 1007855

Paris, Louvre MNC 333. BF lekythos. From Corinth. Elbows Out. Third quarter sixth

Decoration: Shoulder: cocks. Body: antithetic lions with a plant between.

Inscriptions: Body: directly below the top margin and starting near the heads of the lions: θιπαβντα(γ), retr.{1}. παντα. In dilute brown.

Commentary: Listed in ABV as no. CA 178, but see Para. Said in CVA (on MNC 332) to be from the same Corinthian tomb as the latter.

Footnotes: {1} so Haspels; CVA omits the first letter and so does my note from autopsy; I read: ιπαβνταν, retr., with the remark that the last letter could be an `arrow' gamma placed very close to the left margin. I wonder if the lettering is not also Corinthian, as that on Louvre MNC 332; if the latter is false, so should be that on MNC 333. The first inscription is at any rate nonsense. Haspels' readings are on p. 22/1: θ̣ιπαβντα(γ), retr. [note the dot under the theta] and παντα. The ph. shows ιπαβντα clearly, but the theta, if it is that, seems a mere shadow. The last letter, unclear in the ph. because of curvature, is printed as a regular Attic gamma. The inscriptions are in the upper left and right-hand corners of the picture, in each case starting from the lions' faces (these are antithetcal, but turn their heads away from each other). Haspels has the beta with pointed loops, but my note gives both loops as rounded.

Bibliography: *Haspels (1936), 22/2, pl. 7,3 (shows position of inscriptions). — *N. Plaoutine, CVA Louvre 9, France 14 (1938), III H e, under MNC 332, pl. 93,1-5, not ill. — ABV (1956), 249/16. — Para. (1971), 112. — AttScr (1990), no. 902.

Author: H.R.I. Internal ID: 6950

θιπαβντα(γ) > ιπαβντα(γ){1} > IPA' BűNT AGGó > ipa' bűnt aggó (hides foul deed anxious)

παντα > BÁNaTA > bánata (one's heartache)

Ipall bűnt aggó bánata. (One's anxious heartache hides foul deed.)

AVI 6724

Frs. of RF rhyton. From Susa. Sotades Painter. Second quarter fifth. Paris, Louvre SB 4143.

Decoration: Fr. 1: shield, arm, head and )P1,(5, of a warrior (whether a Persian or an Amazon); head and neck of a horse; head and torso of an Amazon. Fr. 2: part of a head with an Oriental cap; behind, the tail of a horse apparently moving to left.{1}

Inscription: Fr. 1: between the head of the horse and and the hand holding the μαχαιρα: ΓΥΓΑΜΙΣ. Fr. 2: to right of a head: ΟΙΓΜΕ.

Commentary: + Louvre SB 4154. According to Bothmer it is possible that other Louvre frs. belong: SB 4145 and SB no number (from rhyta or other plastic vases, see ARV(2) 768/30-31); SB 4138 and SB 4151 (frs. of rhyton, ARV(2) 773). See also Robertson. All are from Susa. On the names see Bothmer: the painter may have known the destination of the vase and have used Oriental-sounding names. I take it the subject is an Amazonomachy, but the Amazons have Persian characteristics.

Attic with four-stroke sigma.

Footnotes: {1} the description is taken from Bothmer; ARV(2) merely says: Amazonomachy.

Bibliography: *Bothmer, Amazons 194/10, pl. 82,2a-b. FR iii, 92-93. Rostovtzev, Hellenistic World, pl. 12,3 (part). ARV(2) 765/19, 768/31. *photo. Robertson, AVCA 314 n. 192 (other frs. from Susa).

ΓΥΓΑΜΙΣ > éG VíGA'Ma IS > ég vígalma is (Heaven's gaiety is also)

ΟΙΓΜΕ > OLY iGe ME' > oly ige mely ... (such word which ...)

Ég vígalma is oly ige mely ... (Heaven's gaiety is also such word which ...)

Science says nothing about “Gugamis”, while “Oigme” is Ubykh “Don’t You Fail!”

AVI 6736; BAD 302377

Paris, Petit Palais 322. RF Nolan amphora Dresden Painter. Second quarter fifth

Decoration: A: a youth and a boy conversing; between them, a stool. B: a woman with a tainia.

Inscriptions: Nonsense, with imitation letters: A: to right of the youth at left, at a distance and below the face: γσγιιδ. To lower right of the boy at right: γσιυσι. B: above the woman's arm: ο(.){1}. At lower right: ο(γ)σγπι.

Footnotes: {1} extending to the end of the picture; visible in the photo, not mentioned in CVA; (.): two parallel vertical strokes.

Bibliography: *N. Plaoutine, CVA Petit Palais, France 15 (1941), pl. 14,1. — ARV[2] (1963), 656/14.

Author: H.R.I. Internal ID: 6977

A:      γσγιιδ > γσγ{K+T}δ > eGéSZSéG KöTőDő > egészség kötődő (health banteringly)

γσιυσι > eGéSZÜ' eVéSÜ' > egészül evésül (amends to eating)

Egészség kötődő egészül evésül. (Health banteringly amends to eating.)

B:       ο(.) > ο{K+T}{1} > OKíT > okít (it reasons one)

ο(γ)σγπι > ονσγπι > ÖNöSSéGBŰ' > önösségbűl (out of selfishness)

Okít önösségbűl. (It reasons one out of selfishness.)

AVI 6748; BAD 207780

Unlocated. RF Nolan amphora From Nola. Ethiop Painter. Second quarter fifth

History: Once Paris, Private: de Witte. Ex Blacas.

Decoration: A: Hermes and a youth. B: a youth.

Inscriptions: A: nonsense: between the two faces: Λ<ον{1}.

Footnotes: {1} read by Panofka as Αγον; this was accepted by DS, Schreiber in Roscher (1884–1937), ...., ...., s.v., and in JdI, but not by Reisch in RE, s.v., or by Beazley.

Bibliography: Panofka (1856), pl. 22,5. — Daremberg–Saglio (1877–1919), i, s.v. Agon, fig. 180 (crude). — *Weege (1916), 134, fig. 14 (dr., after Panofka). — ARV[2] (1963), 665/9 (bibl.).

Author: H.R.I. Internal ID: 6989

Λ<ον > Λ{Λ DőL}ον > eLoLDaLLÓN / eLoLD iLLŐN / aLéL DüLŐN/iDiLLÓN/iDüLŐN/üDöLŐN > eloldallón / elold illőn / alél dülőn/idillón/idülőn/ üdölőn (oozingly / loosening up fitly / one swoons falling/clumsily/chronic/primped)

AVI 6763; BAD 275384

Paris, Private. RF cup. Telephos Painter. Second quarter fifth 470-460 (Cahn).

Decoration: Int.: a bearded man, seated, with stick and phiale; at right, a table with a flat bowl on it. A: in the center, a woman before a chair holding out a skyphos toward a draped youth, who is leaning on his stick; at right, a bearded man, seated, with his stick; a cloth and a basket hung up. B: in the center, a seated woman receives a bag (of money?) from a bearded man leaning on his stick; at right, a youth before a chair, with his stick. At left, tablets (satchel); in the center, a column.

Inscriptions: Nonsense: Int.: καυρ{1}. Ext.: nonsense inscriptions{2}.

Commentary: Type C. `Damenbesuch'?

Footnotes: {1} so Cahn, text; he thinks for καλος, which I doubt. {2} it is unclear whether they are on A and B or only on B (Beazley puts B first, as A).

Bibliography: ARV[2] (1963), 1671/40 bis. — *M&M-Auction (1963), 73/139, pl. 50 (all). — Para. (1971), 421.

Author: H.R.I. Internal ID: 7005

καυρ > KAVaR(ó) > Kavar(ó) (Stir(er))

AVI 6768; BAD 320398

Unlocated. BF neck amphora. From Capua. Painter of Berlin 1686. Third quarter sixth

History: Once Paris Market.

Decoration: Shoulder: A: Calydonian Boar Hunt. B: similar. Body: A: Death of Priam. B: Heracles on the way to Olympus: Hermes, Athena, Heracles. Below: animals.

Inscriptions: Nonsense: A: ειοειοχιειλιολε. ειοχειογ. ει(ατσ)οχειο{1}.

Commentary: Beazley compares an amphora in Oxford (1965.141, ex Northwick Park, Spencer-Churchill), in the manner of the Princeton Painter. For this type of inscription see Beazley (1929a), 361-62, and Berlin 1697.

Footnotes: {1} the bracketed letters are printed as upside down.

Bibliography: *Beazley (1929a), 362. — ABV (1956), 297/19.

Author: H.R.I. Internal ID: 7010

ειοειοχιειλιολε > E JÓ E'JŐ eGYÜ' ÉJJeL JÓ LÉ > E jó eljő együl. Éjjel jó lé. (This good will come as one. At night the juice (wine) is good.)

ειοχειογ > E JÓ uGYE JOG > E jó, ugye, jog? (This good is justifiable, isn't it?)

ει(ατσ)οχειο > ει ατσ οχειο{1} > ÉJ A'TaSSa/Á'TaSSa Ő íGY É' JÓ > Éj altassa/áltassa, ő így él jó. (Let night put to sleep/flatter him/her, s/he lives well this way.)

AVI 6773; BAD 390405

Unlocated. BF neck amphora. Diosphos Painter. First quarter fifth

History: Ex Paris Market: Mikas.

Decoration: A: a youth with his stick and a hare; a dog; a woman. B: a woman crowning a seated man.

Inscriptions: A: nonsense inscriptions. B: nonsense inscriptions: χοχτεχπχ. ισυχις. (.)χγχγχο{1}.

Footnotes: {1} or retr.: (.)χυχυχο(?).

Bibliography: *Photo. — Haspels (1936), [[240/]]157.

Author: H.R.I. Internal ID: 7015

χοχτεχπχ > GYÓGYíTó EGYeBuGYa > gyógyító egyebugya (healing bagatelle)

ισυχις > ISZa ÚGY IS > isza úgy is (a drunkard anyhow)

(.)χγχγχο > εχυχυχϙ{1} > EGYÜGYŰ iGYóK > együgyű igyók (half-witted anon)

Gyógyító egyebugya. Isza úgy is együgyű igyók (legott). (Healing bagatelle. A drunkard anyhow is half-witted anon.)

AVI 6775; BAD 207847

Unlocated. RF Nolan amphora Manner of Painter of London E 342. Second quarter fifth

History: Ex Paris Market: Mikas.

Decoration: A: Nike with a fillet. B: a woman, muffled, is seated on arock.

Inscriptions: A: Nonsense: (λ)νο(λ)(κ)ν{1}.

Footnotes: {1} Printed letters in ARV[2]: the first is = `Argive' lambda; the fourth, = Attic lambda reversed; the fifth is misritten.

Bibliography: *ARV[2] (1963), 669/1.

Author: H.R.I. Internal ID: 7017

(λ)νο(λ)(κ)ν > (λ)νοι(κ)ν{1} > éLNi OLY KÖNNYű > Élni oly könnyű! (Life is so easy!)

AVI 6781; BAD 209252

Unlocated. WG lekythos. Near Inscription Painter. Second quarter fifth Late (Beazley).

History: Ex Paris Market: Segredakis.

Decoration: Warrior (a youth holding a helmet and spear) and a frontal woman (looking left, with casket and basket) at a tomb.

Inscriptions: κλεσ(ν)λ(κ){1}.

Commentary: The inscription, as rendered in ARV[2], looks more like an illiterate attempt at writing than a nonsense inscription.

Footnotes: {1} the nu and the second kappa are reversed. Ionic lambda? Three-stroke sigma.

Bibliography: *ARV[2] (1963), 749/3.

Author: H.R.I. Internal ID: 7023

κλεσ(ν)λ(κ) > KeLLESZ NáLuK > Kellesz náluk! (You are needed in their midst!)

AVI 6783; BAD 200569

Parma, Museo Nazionale C 4. RF cup. Oltos. Last quarter sixth

Decoration: Int.: a woman dancing. Ext.: plain.

Inscriptions: Int.: above her shoulders: nonsense: imitation letters: (.)σ(ο)(.)^σο{1}.

Commentary: See the facs. in CVA, p. 6; not visible in the photo. The reading is poor: is this really nonsense?

Footnotes: {1} Bruhn reads: [---]ος.

Bibliography: ARV[2] (1963), 66/131. — Frova–Scarani (1963), 27-28 (ill. on back cover). — *M.P. Rossignani, CVA Parma 1, Italy 45 (1970), III I, pl. 6,1-2. — Add.[2] (1989), 166.

Author: H.R.I. Internal ID: 7025

(.)σ(ο)(.)^σο > HúSON SÓ – HaSON SZÓ > Húson só – hason szó! (Salt on meat – word on stomack!)

AVI 6797; BAD 320382

Philadelphia, University Museum 3441. BF amphora. From Orvieto. Painter of Berlin 1686. Third quarter sixth 550-530

Decoration: A: Birth of Athena. B: Zeus and Hera, with Poseidon, Amphitrite, Ares, etc.

Inscriptions: Nonsense: A: ι[.]ειοιονειοχει. εοχειεοχεο. ϝι̣οχε(ο)(.)[.]ι̣(ο). B: ν̣ο̣ιεισο<γ. οε[..]ι(α)ιο. νσια. ειθιεχε(.)(.), retr.{1}.

Commentary: Beazley compares Northwick, Spencer Churchill, ABV 299/1 (manner of the Princeton Painter; now Oxford 1965.141, q.v.) for the type of inscriptions. My readings differ somewhat from Beazley's in AJA.

Footnotes: {1} the bracketed omicrons are miswritten; the bracketed alpha is upside down.

Bibliography: *Hall (1915), 69-71 (ill.). — *Beazley (1929a), 362. — ABV (1956), 296/3. — Para. (1971), 128. — Add.[2] (1989), 77.

Author: H.R.I. Internal ID: 7039

A:       ι[.]ειοιονειοχει > I[D]E JÓ JÖN-E JÓ' üGYELJ > I[d]e jó jön-e? Jól ügyelj! (Does any good come to here? Keep a good lookout!)

εοχειεοχεο > E Ó aGYa ELY-E Ö'GYE Ő > E ó agya ely-e (ilyen-e)? Ölgy-e (elegy-e) ő? (Is this older's brain like this? Is it a mix/compound?)

ϝι̣οχε(ο)(.)[.]ι̣(ο) > ϝι̣οχεφ(.)[.]ι̣(ο) > VaJ Ő íGY E Fő VáJÓ > Vaj ő így e fő vájó? (Is she than this head/main digger?)

B:       ν̣ο̣ιεισο<γ > ν̣ο̣ιεισο{Λ DőL}γ > NŐJE IS OLDaLoG > nője is oldalog (his woman also heels)

οε[..]ι(α)ιο > οε[..]ι{A+V}ιο > Ő E[SZeS] ÍjÁVa' JÓ > ő e[szes] íjával jó (she is artful, good with her bows)

νσια > NőS ÍjA > nős íja (a married man's bow)

ειθιεχε(.)(.) > EJTSe JeGYESüL > ejtse jegyesül (let make her betrothed)

Nője is oldalog, ő e[szes], íjával jó. Nős íja ejtse jegyesül! (His woman also heels, she is artful, good with her bows. Let a married man's bow make her betrothed!)

AVI 6804; BAD 202276

Philadelphia, University Museum 4842. RF cup. From Orvieto, a tomb. Eucharides Painter. Early fifth Middle/late (Langridge).

Decoration: Int.: a boy, seated and writing in a large writing tablet; at right, part of a chest (for book rolls?). Ext.: plain.

Inscriptions: Int: nonsense: along his back: λχλυχυχ{1}. Above the tablet: συχσυχ{2}.

Commentary: Lambda and upsilon are hard to distinguish.

Footnotes: {1} my reading; Langridge agrees. {2} my reading; Langridge has: σλχ(σ)υχ.

Bibliography: *Hall (1913), 156f./10, [[fig. 134]]. — ARV[2] (1963), 231/82. — Add.[2] (1989), 200. — *Langridge (1993), 401/E 161, pl. 64, top. — Ober–Hedrick (1993), 145, fig. 24,2. — *White (1995), A 12 (Int., small).

Author: H.R.I. Internal ID: 7046

λχλυχυχ > LéGY eLeVe eGYÜGYű > légy eleve együgyű (be preordinately half-witted)

συχσυχ > SZíV úGYiS VáGYi > szív úgyis vágyi (the heart craves that anyway)

Légy eleve együgyű, szív úgyis vágyi! (Be preordinately half-witted, the heart craves that anyway.)

AVI 6815; BAD 204361

Philadelphia, University Museum 31.19.2. RF cup. From Italy. Foundry Painter. First quarter fifth 490-480

Decoration: Int.: a youth with an oinochoe and cup before a large krater (cupbearer). Ext.: A: three warriors, one falling. B: a centaur between two warriors.


Inscriptions: Nonsense. Int.: to left of youth's head: γ(σ)μ. At right: γνεισεγ{1}. Horizontal: A: to left of the leftmost warrior: (ν)ευγ. On his right: γνυνι. To left of the rightmost warrior: χεγν. B: to right of the left warrior: γνγ. To right of the centaur: (σ)νγ[.]νυ{2}.

Commentary: Many letters have curving lines. The inscriptions on the Int. are done without turning the vase. A good example of the hand of the Foundry Painter.

Footnotes: {1} the last letter could be a tau. {2} this could be two inscriptions.

Bibliography: *Dohan (1932–3), 34-38, and 42-43, figs. 16 and 18. — ARV[2] (1963), 402/20. — ARV[2] (1963), 402/20. — *Beazley (1966), pls. 13-14. — Para. (1971), 370. — Para. (1971), 370. — Phillips–Ashmead (1988), no. 2, 26, fig. 8 (new restoration; inscriptions). — *Beazley (1989), 81, pl. 58-59.

Author: H.R.I. Internal ID: 7057

Int.:    γ(σ)μ > éGeSSeM > Égessem? (Should I burn it?)

γνεισεγ > GaNÉ IS ÉG > Gané is ég. (Manure burns too.)

A:       (ν)ευγ > eNNÉ' VéGe > Ennél vége. (Its the end with him.)

γνυνι > éGeN VaN Ű > Égen van ű. (He is in heaven.)

χεγν > üGYE' éGeN > Ügyel égen. (He is on guard in heaven.)

B:       γνγ > GaNGa > ganga (one with feet wide apart )

(σ)νγ[.]νυ > eSZéN iGe [Kö]NNYŰ > eszén ige [kö]nnyű (the words on one's mind is easy.)

Ganga (tertyedt lábú) eszén ige [kö]nnyű. (The words on the mind of the one with feet wide apart is easy.)

AVI 6817; BAD 305530

Philadelphia, University Museum L.64.177. BF neck amphora. Diosphos Painter. Early fifth

Decoration: A: Athena in a chariot. B: a bearded driver in a chariot.

Inscriptions: B: nonsense (imitation): above and below his goad: ιυιι(.)ιι. ιυγ(χ)υ. Below the horses: τλχλχ(λ)χι{1}.

Commentary: Inv. '99-169. Loaned by the Pennsylvania Museum of Art in 1935. A small vase.

Footnotes: {1} the bracketed lambda is perhaps an upsilon.

Bibliography: *Haspels (1936), [[239/]] no. 139. — ABV (1956), 509/139.

Author: H.R.I. Internal ID: 7059

ιυιι(.)ιι > ιυ{K_T}(.){K_T} > IVó KiT üGY Ke'T > ivó kit ügy kelt (the drunkard, whom the cause wakes)

ιυγ(χ)υ > ÜVeG GYúVa' > üveg gyúval (the bottle with fuel)

τλχλχ(λ)χι > τλχλχυχι{1} > TeLi GYúLáGYáVa' eGYÜ' > teli gyúlágyával együl (choked up, unites with the fire-bed)

Ivó kit ügy kelt, üveg gyúval teli gyúlágyával együl. (The drunkard, whom the cause wakes, unites with the fire-bed of the bottle choked up with fuel.)

AVI 6818; BAD 9017518

Philadelphia, University Museum L 64-182. BF lip cup. Unattributed. Third quarter sixth

Decoration: Lip: A, B, each: a female head in outline.

Inscriptions: A: ϝοϝοϝοϝ̣οϝοαο[.?] vac. B: Ι̣[]ϝχοϝοϝ vac.

Commentary: Lent by the Pennsylvania Museum of Art, 1935 (label). On digamma in nonsense inscriptions, see AttScr.

Bibliography: AttScr (1990), no. 960.

Author: H.R.I. Internal ID: 7060

A:     ϝοϝοϝοϝ̣οϝοαο[.?] > eVŐ-iVÓ óVÓ íVÓ éVŐ Á' Ő[RT] > Evő-ivó óvó, ívó évő áll ő[rt]. (Eating-drinking is protecting, the spawning botheringly stands on guard.)

Wordplay, specific to the defective notation of vowels writing methode and the Scythic/Hun/Magyar language, of course, and interlared with some no-nonsense humour.

AVI 6835

Port Sunlight, Lady Lever Art Collection 5019. BF pelike. Theseus Painter (Robertson){1}. Early fifth

History: Ex Hope collection. Once on loan to Rawtenstall 55.3.23.

Decoration: A: Dionysus with Hephaestus on a donkey; a satyr. B: Dionysus seated, with a kantharos; Ariadne seated.

Inscriptions: A: below the donkey: nonsense: οσ(α)σ{2}.

Commentary: The inscription is done from the photo, not mentioned by Robertson.

Footnotes: {1} by the same hand as Cab. Méd. 250, Para. 257, which Beazley attributes to the Theseus Painter. {2} the third letter perhaps an Attic gamma.

Bibliography: Christie (1917), no. 20,c. — Tillyard (1923), 37/30. — Bothmer (1951), 43/27 (listed as Rawtenstall). — *Robertson (1987), 27/17 (A, B).

Author: H.R.I. Internal ID: 7080

οσ(α)σ > οσγσ{2} > ÓSáGoS > Óságos (Archaic)

AVI 6836; BAD 9017520

(?) Thessalonike, Archaeological Museum. BF band cup. From Possidi (Mende), Sanctuary of Poseidon. Unattributed. Third quarter sixth

Decoration: A, B, each: handle zone: Dionysus with maenads and satyrs.

Inscriptions: A: handle zone: numerous inscriptions (the ph. shows 6-7), probably nonsense. On the lip, on A, starting near the left handle, in large letters, a Gr.: Ζηνοθεμις μανεθηκεν.

Commentary: Poseidi is a promontory near Mende in the Chalcidice. The Gr. is not Attic.

Bibliography: *Vokotopoulou (1991[96]), 288, pl. 107,γ.

Author: H.R.I. Internal ID: 7082

Ζηνοθεμις μανεθηκεν > íZEN O'TSa ÉMeLY S MÁN E iTCE KÉNe > Ízen oltsa émely s mán e itce kéne! (The nausea alleviates/assuages on taste/flavor and already this half-pint would needed!)

AVI 6844; BAD 9017838

Princeton, University Art Museum. BF column krater. Attribution not known to me. Date unclear

Decoration: A: a warrior mounting a chariot, with five other warriors. B: five nude and bearded male dancers.

Inscriptions: A: nonsense: to right of the horses' legs: π(ο)π(ο)π(ο)ν(ο){1}.

Commentary: Low squat letters.

Footnotes: {1} the omicrons are reduced to dots.

Author: H.R.I. Internal ID: 7090

π(ο)π(ο)π(ο)ν(ο) > BŐ BO' BONYO' > Bő boly bonyol. (Broad bunch complicates.)


π{T_S/Z}π{T_S/Z}π{T_S/Z}ν{T_S/Z}{1} > PiTiS PaTáS Bő TüSSZeNTéS > Pitis patás bő tüsszentés. (Intoxicated/groggy ungulate is plentiful with sneezeing (farting).)

AVI 6845; BAD 28180

Princeton, University Art Museum. RF psykter. Kleophrades Painter. Ca. 500 Very early 510-500

Decoration: Symposium: the side shown has a youth reclining, playing kottabos and a bearded man reclining and filling his cup from another cup.

Inscriptions: Nonsense: to right of youth's head: ιλεισ.

Commentary: Not in Beazley. Two other psykters by the Kleophrades Painter are also very early (ARV[2] 188/65-66). The inscription is in the Pioneer style. There are no doubt other inscriptions.

Bibliography: *Museum card (invitation to symposium 4/21/1990).

Author: H.R.I. Internal ID: 7091

ιλεισ > ÜL E IS/ŰS > Ül e is/űs. (This one/ancestor also celebrates.)

AVI 6847; BAD 320433

Princeton, University Art Museum 29.192. BF amphora. Manner of Princeton Painter. Third quarter sixth

Decoration: A: Warriors Leaving Home, and a horseman leading a second horse. B: a horseman with men and a youth.

Inscriptions: A: Nonsense: imitation inscriptions: to right of the left man's legs: υ(.)λ(χ)λλι, retr. To right of the left warrior's legs: χ(.)λχιχλλ(ρ̣), retr. Under the horses: χ<(ο)λχ(ο)υ, retr. π(λ)υι(λ)(ι)(ο)λ, retr. Above one horse's head: π(σ)(ο)χσσ. B: similar: five vertical imitation inscriptions, one beginning with a large retr. epsilon. Under the foot, Dip.: Χ and Χ. Not in Johnston (1979).

Commentary: The drawings in AJA are inaccurate. Beazley compares Munich 1370 (ABV 303/3), by the Painter of Munich 1393. Attic and `Argive' lambda{1}.

Footnotes: {1} the latter is not a real lambda.

Bibliography: *Morey (1907), 143 ff., fig. 1 (ph.), pls. 10-11 (drs.). — ABV (1956), 330/9. — Para. (1971), 130. — Scheibler (1988), 550-51, fig. 2 (B).

Author: H.R.I. Internal ID: 7093

υ(.)λ(χ)λλι > VaDuL GYűLöLI > vadul gyűlöli (he hates him furiously)

χ(.)λχιχλλ(ρ̣) > GYáSZoLó GYŰ' GYűLöLőRe > gyászoló gyűl gyűlölőre (bereaved are rallying on vindictive)

χ<(ο)λχ(ο)υ > χ{Λ DőL}(ο)λχϙυ > íGY oLDaLoL GYi'Ko'Va > így oldalol gyilkolva (this way the revenge heels away by killing)

π(λ)υι(λ)(ι)(ο)λ > πσυι(λ)γ(ο)λ > BoSSZú ÚJóLaG ÖL > bosszú újólag öl (the revenge kills again)

π(σ)(ο)χσσ > π(σ)ϙχσσ > BüSZKe GYáSZoS > büszke gyászos (proud mourner)

Vadul gyűlöli, gyászoló gyűl gyűlölőre, így oldalol gyilkolva bosszú: újólag öl büszke gyászos (He hates him furiously, bereaved are rallying on vindictive, this way the revenge heels away by killing: the proud mourner kills again.)

AVI 6849; BAD 200875

Princeton, University Art Museum 31.5. RF alabastron. Group of Paidikos Alabastra (γ){1}. Last quarter sixth

Decoration: Between columns: two women facing an altar.

Inscriptions: Nonsense: on the top of the mouth, in a complete circle, in BG: παιγογλοι. Around the head of the woman at left (the main figure): ιο(α)ιλο{2}.

Commentary: The inscription on the mouth may be an illiterate attempt to write hο παις καλος.

Footnotes: {1} manner of Euergides Painter; this group may be by one hand (Beazley). {2} it is not clear that this is complete.

Bibliography: ARV[2] (1963), 100/17.

Author: H.R.I. Internal ID: 7095

παιγογλοι > BAJ GŐG öLŐJe > Baj gőg ölője. (Hardship/distress is the killer of arrogance.)

ιο(α)ιλο > JÓ AJáLLÓ > Jó ajálló (ajánló). (Good advise.)

AVI 6855; BAD 4538

Providence, Rhode Island School of Design 14.432. BF lekythos. Unattributed. First half fifth

Decoration: Peleus and Thetis; at right, an altar; at the far right, Peleus and Thetis again.

Inscriptions: Nonsense: above the altar and going above the back of Peleus 2, diagonally upward: ιιχ v. ονιπ{1}.

Footnotes: {1} there is one vacant space betweeen the two parts.

Bibliography: BADB: 4538. — *S.B. Luce, CVA Providence 1, USA 2 (1933), pl. 12,2.

Author: H.R.I. Internal ID: 7102

ιιχ v. ονιπ > {K_T}χ φνιπ > KöTi íGY FöNN IPa > Köti így fönn ipa. (The marriage this way is contracted by his father-in-low in Heaven.)

... on the advice of Themis, Zeus chose Peleus to be the husband of the Nereid Thetis, whom he would have married himself had he not been discouraged by the Fates’ prophecy that any son born to Thetis would become far more powerful than his father. He was also vexed that Thetis had rejected his advances, for her foster-mother Hera’s sake, and therefore vowed that she should never marry an immortal. Hera, however, gratefully decided to match her with the noblest of mortals, and summoned all Olympians to the wedding when the moon should next be full, at the same time sending her messenger to King Cheiron’s cave with an order for Peleus to make ready.” (See R. Graves: The Greek Myths, 81.j.)




AVI 6860; BAD 14789

Providence, Rhode Island School of Design 23.356. RF lekythos. Unattributed. Second quarter fifth Ca. 470

Decoration: A woman with a large bird; a stool; a chest.

Inscriptions: To right of the bird's neck: Λα(σ)ο<Λο(.).

Commentary: Very free, almost cursive, writing. See the dr. of the inscription, CVA, pl. 19,3b. I cannot identify all the letters. Probably nonsense.

Bibliography: BADB: 14789. — Banks (1928), 52. — *S.B. Luce, CVA Providence 1, USA 2 (1933), pl. 19,3.

Author: H.R.I. Internal ID: 7107

Λα(σ)ο<Λο(.) > Λα(σ)ο{Λ DőL}Λο(.) > LASS/áLLÁS öLDeL éLŐT > Lass/állás öldel élőt. (Slowness/standstill kills the living.)





AVI 6861; BAD 201494

Providence, Rhode Island School of Design 25.073. RF alabastron. From Greece. Painter of Berlin 2268. Last quarter sixth

Decoration: Satyr, holding up a full wineskin and a pelta with outstretched arms; an amphora.

Inscriptions: To left of the wineskin, interrupted by the satyr's arm: χα^λοι, for καλος(?). To left of the pelta, nonsense: σ(ι)ιτι.

Bibliography: *dr. — *S.B. Luce, CVA Providence 1, USA 2 (1933), pl. 17,3. — ARV[2] (1963), 157/88.

Author: H.R.I. Internal ID: 7108

χα^λοι σ(ι)ιτι > χα^λογ σλιτι > GYALOG SZáLLÍTI > Gyalog szállíti. (He transports it on foot.)



AVI 6902

Thebes, Archaeological Museum. BF lip cup. From Rhitsona. Unattributed. Third quarter sixth 550-530

Decoration: Lip: A, B each: a horseman.

Inscriptions: Nonsense: handle zone: A: (.)γσπσπιχσνσν. B: πγσπχο(.)σ.

Commentary: The first bracketed letter is a hook as for a rho with a small loop; the second, perhaps a partial sigma.

Bibliography: *Burrows–Ure (1907–8), 254/264, fig. 12,3 (facs.).

Author: H.R.I. Internal ID: 7151

A:     (.)γσπσπιχσνσν > RéGi éSZBe' SZéPÜ' üGYeS öNeSZéN > Régi észben szépül ügyes öneszén. (Old is getting nicer in clever one's own mind.)


B:     πγσπχο(.)σ > PiGe SZéP GYORS > Pige szép gyors. (Cricket is nice when it is fast.)

AVI 6902b; BAD 9017833

Rhodes, Archaeological Museum. Fragmentary BF lip cup. From Ano Achaia. Unattributed{1}. 550-540 (Lemos).

Decoration: Lip: A: between pegasi at the handles: four pairs of a man and woman copulating. B: similar.

Inscriptions: Handle zone: A: nonsense: (.)σχαλστσυγνσ(.)γνσπσυ(.)ρσ. B: similar: only the beginning (4 letters) and end (8 letters) are preserved.

Commentary: No inv. number. Foot, stem and tondo are missing. Uncertain readings.

Footnotes: {1} Lemos compares the Xenokles Painter; in n. 63 she says that P. Heesen (who will publish a study of LM cups) prefers the workshop of the potter Hermogenes. {2} fig. 6 shows the letter forms well.

Bibliography: *Lemos (1997), 460ff., figs. 6-7 (A, B){2}.

Author: H.R.I. Internal ID: 7153

A:     (.)σχαλστσυγνσ(.)γνσπσυ(.)ρσ > MáS áGYÁLLáST SÚG NőS öReG NőS BaSZóVa' SZoRoS > Más ágyállást súg nős, öreg nős baszóval szoros. (Married man suggests different bed-lay, with old married fucker it is crowded.)

AVI 6911; BAD 210148

Rhodes, Archaeological Museum 12296. RF cup. From Camiros. Telephos Painter. Second quarter fifth

Decoration: Int.: a youth between a square base at left and a stele at right. Ext.: plain.

Inscriptions: Int.: καλος πσ.

Commentary: Two nonsense letters are added to sense; the inscription is taken from the text of CVA.

Bibliography: Jacopi (1931), 91, fig. 79. — *G. Jacopi, CVA Rhodes 2, Italy 10 (1934), III I c, pl. 6,1,4. — ARV[2] (1963), 819/48. — Schettino Nobile (1968–9), pl. 41, fig. 56. — Add.[2] (1989), 293.

Author: H.R.I. Internal ID: 7163

καλος πσ > KALLÓ SZéP SZó > Kalló szép szó. (Fine/fair word is fraying.)

AVI 6923; BAD 361434

Richmond, VA, Museum of Fine Arts 60.11. BF neck amphora. Diosphos Painter. First quarter fifth Ca. 500-490 (Shapiro).

Decoration: A: Heracles and Cycnus. B: Ares and Athena (both are participants in A).

Inscriptions: Nonsense: imitation: A: to Heracles' upper left: υχ^υχ. To right of his face: hι(σ)υχι. At the bottom, below Cycnus' legs: υχι(σ)υυ{1}. B: between Ares' legs: χχγχ. To Athena's lower right: (.)(.)(χ)χεχ{2}.

Footnotes: {1} followed by an accidental(?) dot. {2} hard to read in Southern's photo.

Bibliography: Para. (1971), 250. — *Shapiro (1981), 66/24. — Add.[2] (1989), 128.

Author: H.R.I. Internal ID: 7177

A:       υχ^υχ > VáGY VaGY > vágy vagy (the desire either)

hι(σ)υχι > HŰ SZíVVe' eGYÜ' > hű szívvel együl (unites with faithful heart )

υχι(σ)υυ > υχιζυυ{ToSZ}{1} > VaGY űZi VíVó TuSa > vagy űzi vívó tusa (or it is chased by fighting tussle)

Vágy vagy hű szívvvel együl, vagy űzi vívó tusa. (The desire either unites with faithful heart or it is chased by fighting tussle.)

B:       χχγχ > GYóGY éG-üGY > gyógy ég-ügy (healing is Heaven's cause)

(.)(.)(χ)χεχ > Ha VáGY-üGGYE' eGY > ha vágy-üggyel egy (if it is one with the cause of desire)

Gyógy ég-ügy, ha vágy-üggyel egy. (Healing is Heaven's cause, if it is one with the cause of desire.)

AVI 6949; BAD 330777

Rome, Palazzo dei Conservatori 51. BF/WG oinochoe. Circle of Athena Painter; Sèvres Class. Early fifth Late sixth or early fifth (CVA).

Decoration: A naked horseman with two javelins, preceded by a dog; at left, a herm decorated with bows.

Inscriptions: Nonsense: to right of the horse and above the dog: οσπσαο(.){1}.

Footnotes: {1} I cannot read the last letter in the photo. CVA, text, reads: ισ πσα and a reversed Ϲ [[οσ not ισ! The first sigma has three, the second four strokes, i.e. the text is nonsense; the space after οσ is quite unnecessary]].

Bibliography: ABV (1956), 525/10. — *G.Q. Giglioli and V. Bianco, CVA Capitoline 1, Italy 36 (1962), pl. 44,1-2 [[sm., but quite cl.]]. — Para. (1971), 263.

Author: H.R.I. Internal ID: 7203

οσπσαο > Ő SZaBáSSA' Ó > Ő (rend)szabássa ó. (He protects with regulations.)

AVI 6951; BAD 310017

Rome, Palazzo dei Conservatori 85. BF Tyrrhenian neck amphora. From Cerveteri. Prometheus Painter (Bothmer). Second quarter sixth 560-550 Middle period (Kluiver).

Decoration: A: Calydonian Boar Hunt. B: a horse race.

Inscriptions: A: Μελανιον, retr. Ανκ̣αιος, retr. Above the boar: Γο[ρ]γος, retr. Below the boar: [...]α̣ρ̣πος, retr.{1}. Behind the boar: [...]. B: Ο<ρ><ρ>ιπος. [...]γ̣ιπ<π>ος. Ποσ[...]{2}.

Commentary: The inscriptions done from CVA, p. 3. The epsilon is miswritten.

Footnotes: {1} R. apud K.: "A reconstruction of [[--]α̣ρ̣πος] as καπρος, `boar', would have fitted well." I.e.: read: [κ]α̣ρ̣πος for καπρος? {2} Ruijgh apud K. reads the inscriptions on B as sense inscriptions, noting that Orrippos occurs also on Berlin 1705 (AVI 2212) and AVI 3127a (K.'s no. 17), both by this painter. My readings as nonsense are said to be in error as are the readings of B in CVA. R. must be right. {3} retr. except alpha? {4} CVA wrongly suggests Ωκυπους, three times.

Bibliography: ABV (1956), 96/17. — *G.Q. Giglioli and V. Bianco, CVA Capitoline 1, Italy 36 (1962), pl. 8 and p. 3 (facs). — Para. (1971), 36. — AttScr (1990), no. 170. — *Kluiver (1995), 59/9 and 65/9 (inscriptions done by C.J. Ruijgh), figs. 5, 12-13.

Author: H.R.I. Internal ID: 7205

A:       Μελανιον > MÉLÁN JÖN > mélán jön (it comes gloomily)

Ανκ̣αιος > Á'Na Ki A JÓS > állna ki a jós (the seer would stand out)

Γο[ρ]γος > GÖRöG ŐS > görög ős (ancient Greek)

[...]α̣ρ̣πος > [H]ARaPÓS > [h]arapós (man-eating ...)

Mélán jön, állna ki a jós görög ős. [H]arapós ... (It comes gloomily, the ancient Greek seer would stand out. Man-eating ...)

Side B is too fragmentary for reading.

AVI 6952; BAD 13751

Rome, Palazzo dei Conservatori 87. BF oinochoe (olpe). Unattributed. Last quarter sixth Ca. 520 (CVA).

Decoration: Heracles and Triton; at left, Nereus; at right, two Nereids.

Inscriptions: Nonsense: above the scene, widely spaced: (.)α(.)οσ(.)(.)γο(σ)(.)γγγος{1}.

Commentary: ABV 176 lists the number 87 (wrongly?) for Conservatori 6.

Footnotes: {1} I may have put in too many `(.)'. Done from the facs., which is poor. CVA suggests: καλος καλος καλος(?). The photo is unclear: I can see οσ twice, also perhaps a nu; the rest is obscured. Attic alphabet unless the gammas are Ionic lambdas.

Bibliography: *G.Q. Giglioli and V. Bianco, CVA Capitoline 1, Italy 36 (1962), pl. 19,1; facs. on p. 13 (no bibl.).

Author: H.R.I. Internal ID: 7206

(.)α(.)οσ(.)(.)γο(σ)(.)γγγος > KÁROS HaRaGOS MíG GőGÖS > Káros haragos míg gőgös. (A hostile man is harmful while he is haughty.)

AVI 6963; BAD 202716

Rome, Vatican. RF amphora. From Vulci. Kleophrades Painter. Late sixth Very early: before 500 (Beazley).

Decoration: A: Heracles and Athena, with Iolaus. B: komos: two youths with a lyre-playing bearded man in the middle.

Inscriptions: A: to left of Athena's open mouth, but written toward her: χαιρε. B: nonsense: to right of the lyre player's mouth: νοτπο.

Bibliography: *Beazley (1933a), no. 2, p. 11, pl. 1 (details). — ARV[2] (1963), 182/3 (much bibl.). — Para. (1971), 340. — Add.[2] (1989), 186. — AttScr (1990), no. 439.

Author: H.R.I. Internal ID: 7217

A:     χαιρε > áGYALJ őRE > Ágyalj őre. (Bed's guard.)

B:     νοτπο > NŐT aPO' > Nőt apol. (He kisses woman.)




AVI 6974; BAD 9016803

Rome, Vatican 323. Plain lip cup. Unattributed. Third quarter sixth

Decoration: No figured decoration.

Inscriptions: Handle zone: nonsense: mock inscriptions. A: εποιεαοναονασεα. B: εποιεαναονεα{1}.

Commentary: The inscriptions imitate a potter's signature.

Footnotes: {1} both inscriptions after Albizzati's text; the picture is very small, enough only to show that the gaps indicated by him do not exist. The inscription on B is rendered by him as: εποιε α<ο>ν αον <ασ>εα.

Bibliography: *Albizzati (1929), 113, fig. 54.

Author: H.R.I. Internal ID: 7229

A:     εποιεαοναονασεα > εποιεαθναθνασεδ > E BŐJE ÁCSo'NA CSíNNA' öSSZE üDe > E bője ácsolna csínnal össze üde. (The abundance of this would rear up one with gaiety afresh.)

B:     εποιεαναθνεα > E BŐJe ANYA-CSíNNYE' Á' > E bője anya-csínnyel áll. (The abundance of this stands due to mother's prank.)

AVI 6976; BAD 2850

Rome, Vatican 325. Frs. of BF band cup{1}. Unattributed. Third quarter sixth 550-530

Decoration: Ext.: an arming scene with many warriors looking on.

Inscriptions: Nonsense: the inscriptions fill the available spaces. Frs. 1 + 2, joining: λυσοιτσ̣. ευπσοσπσ̣. λτεπσ̣οσπσ. [...](.)υτυ. (ν)ι and above: πλτ. σιστστ. στσ̣τ̣οτσ. σολτσοστ. σ̣τστ(.)σ. σ̣ιοστε̣ο. [...?]ι̣τσοσ(π)ο. σι̣ο̣[.]τιτσ. λτσ. οπιοσ. Two inscripions are unclear. Fr. 3: two letters. στ[.]οστ. An unclear inscription. A small fr. has two letters.

Commentary: Done from the photos. in Albizzati. Nu's and one pi are reversed.

Footnotes: {1} 5 frs.

Bibliography: Photo Alinari 35821. — Minto (1923a), 265, fig. 3. — *Albizzati (1929), 114-15, fig. 55, pl. 36. — Brijder (1974), 108, fig. 7. — Dev.[2] (1986), pl. 46, fig. 8. — *AttScr (1990), no. 230, fig. 66.

Author: H.R.I. Internal ID: 7231

λυσοιτσ̣ > eLVeSZŐ ITT éSZ > elvesző itt ész (the mind is perishing here)

ευπσοσπσ̣ > ÉVőBe' SZÓ' SeBeS > évőben szó sebes (the word is casualty in pensive man)

λτεπσ̣οσπσ > λτεπροσπσ > LeTEPeRi ŐSi BeSZe > leteperi ősi besze (ancient talk sends him to grass)

[...](.)υτυ (ν)ι > [Mi] (SZó)VeTőVe' NYű > [mi] (szó)vetővel nyű (what is annoyance with mouthpiece)

πλτ > áPoLT > ápolt (groomed)

σιστστ > SZŰ SZíT éSZT > szű szít észt (heart foments the mind)

στσ̣τ̣οτσ > SZíTó SZóT Ő TeSZ > szító szót ő tesz (it makes the fomenting word)

σολτσοστ > SZÓ oLT SZÓ SZíT > szó olt szó szít (word extinguishes, word foments)

σ̣τστ(.)σ > SZóT SZíT ÉSZ > szót szít ész (mind foments word)

σ̣ιοστε̣ο > σ̣ιοστκο > SZŰ ÖSZTöKÖ' > szű ösztököl (heart bustles)

[...?]ι̣τσοσ(π)ο > ITT SZÓ SáPO' > itt szó sápol (… here the word repines)

σι̣ο̣[.]τιτσ > SZŰ Ö[N]TI'Tó iS > szű ö[n]tiltó is (heart is also self-prohibitive)

λτσ > éLTeS > éltes (elder)

οπιοσ > θπιοσ > CSáBJa ŐSi > csábja ősi (the charm is ancient)

στ[.]οστ > SZíTó [K]ÓSTa > szító [k]ósta (fomenting board)

Elvesző itt ész! Évőben szó sebes, leteperi ősi besze, [mi] (szó)vetővel nyű. Ápolt szű szít észt, szító szót ő tesz. Szó olt, szó szít, szót szít ész, szű ösztököl. … itt szó sápol, szű ö[n]tiltó is. Éltes csábja ősi szító [k]ósta. (The mind is perishing here! The word is casualty in pensive man, ancient talk sends him to grass, what is annoyance with mouthpiece. Groomed heart foments the mind, it makes the fomenting word. Word extinguishes, word foments, mind foments word, heart bustles. … here the word repines, heart is also self-prohibitive. The charm of an elder is ancient fomenting board.)

The text perfectly suited to the depicted scene: it talks no-nonsense words about the doubtful influence of the heart and mind on men arming for war.

AVI 6988; BAD 302090

Rome, Vatican 370. BF amphora. From Cerveteri. Leagros Group{1}. Last quarter sixth

Decoration: A: Ajax with the body of Achilles; at left, a woman; at right, a warrior and an archer. B: Dionysus mounting a chariot; a satyr with a lyre; two maenads.

Inscriptions: A: nonsense: between Ajax' legs: γαυο. To left of the right warrior's face: σ̣ο. Between his legs: σ, and far below: αι{2}. To left of the archer's face: ασ. To left of the archer's legs: γαιχ{3}.

Commentary: All groups of letters seem to be complete.

Footnotes: {1} note by Beazley: "Workshop, no doubt, of the Leagros Group, but not fully Leagran in drawing." {2} I thought perhaps some letters might be combined into καλος. {3} hardly ναιχ<ι>.

Bibliography: *Albizzati (1929), 160f., pl. 49, figs. 101-103. — ABV (1956), 367/95, 696.

Author: H.R.I. Internal ID: 7243

γαυο σ̣ο σ αι ασ γαιχ > γαυο σ αι σ̣ο ασ γαιχ > iGÁVa' ŐS ÁLLJ SZÓ ASZó ADJa ÜGY > Igával ős állj! Szó aszó - adja ügy. (Old man, stop with your yoke/burden! The word is dried out – cause makes it.)

AVI 6989; BAD 302102

Rome, Vatican 372. BF amphora. From Cerveteri. Leagros Group (Antiope Group, I). Last quarter sixth 510-500

Decoration: A: Heracles and Cerberus. B: Ariadne mounting the chariot of Dionysus.

Inscriptions: A: nonsense: to right of Heracles' legs: νχδεο. To left of Hades' face: νοεh(λ)χδι, retr.{1}. Above Cerberus' head: (ν)δχυ, retr.{2}. To right of Hades' shoulder: (.)χασ, retr.{3}. Above Persephone: five letters, not legible in Albizzati's photo.

Footnotes: {1} the lambda is not retr.; the delta may be a rho. This last holds true of all `deltas', whence perhaps Smith got the idea that these painters play with the name of Nearchos, although he too reads νχδεο. {2} the nu is not retr. {3} the first letter is a blob.

Bibliography: *Albizzati (1929), 161-63, fig. 1106, pl. 50. — H.R.W. Smith, CVA San Francisco 1, USA 10 (1943), 30. — ABV (1956), 356, 368/107. — Para. (1971), 162. — Add.[2] (1989), 98. — *AttScr (1990), no. 447, fig. 93.

Author: H.R.I. Internal ID: 7244

νχδεο > νχρεφ{1} > Na GYeRE Fö' > na gyere föl (Well, come up.)

νοεh(λ)χδι > νοεμ(λ)χρι{1} > NŐÉ' eMeL üGYRŰ' > nőé(rt) emel ügyrűl (for a woman he lifts you off duty)

(ν)δχυ > μρχυ{1} > íMeR GYŰ > ímer gyű (water soldiers comes)

(.)χασ > φχδσ{3} > Fö' íGY DúS > föl így dús (this way with abounding)

Na, gyere föl. Nőé(rt) emel ügyrűl. Ímer* gyű (jő) föl így dús … (virággal). (Well, come up. For a woman he lifts you off duty. Water soldiers comes up this way with abounding … (flowers). )

 * növényfaj; virágzás előtt a víz fenekén ül, virágzani a víz szinére feljő, virágzása után fenékre száll. Máskép: ímergyökér. (Stratiotes aloides). CzF : vegetable genre; before blooming it sits on the water-bed, for blooming it comes up to the water's surface, after blossoming goes to the bottom. (Statiotes aloides, commonly known as the water soldiers or water pineapple, is a submerged aquatic plant native to Europe and north-western Asia. )

This myth seems to have been deduced from an icon which showed Heracles descending to Tartarus, where Hecate the Goddess of the Dead welcomed him in the form of a three-headed monster—perhaps with one head for each of the seasons—and, as a natural sequel to her gift of the golden apples, led him away to the Elysian Fields. Cerberus, in fact, was here carrying off Heracles; not contrariwise. The familiar version is a logical result of his elevation to godhead: a hero must remain in the Underworld, but a god will escape and take his jailer with him.” (R. Graves: The Greek Myths, 134.1.) The water soldiers symbolises Heracles's descent to the underworld and his ascent back with the fruit of his 12th labour: the Cerberus.