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.
The main period of Corinthian
vase-painting is relatively short, and the inscribed pieces span just
over a century, most of them no more than about 30 years
(approximately 580–550). Towards the end of the period,
Corinthian workshops started imitating Attic fashion.
For the Corinthian alphabet, which is
of a common type (similar to East Ionic) but contains a distinctive
series of less common letter-forms (mainly beta, iota, san, and the
special, though frequent, epsilon).
As the Corinthian vase-inscriptions
make up quite a large part of Wachter's book, I did break this part
up into five subheadings, plus a separate blog for the Kypselos
chest, which actually COR 66 in Wächter's book.
CORINTH
~
@ COR 1A ~
Fr.
of an oinochoe from Aigina (found ?). Aigina, Mus. 2061.
Scene:
Warrior to r. (no inscr. preserved), woman to l. (labelled) wearing
helmet and holding bow, stretching out her r. arm towards the
warrior’s face (or his chin, to plead for mercy?). Date:
PC, c.640 (LIMC; Schefold).
Αµασζον
>
AMA
SZűZÖN
>
...
ama szűzön
...
(...
on that virgin ...)
R.
Wachter's interpretation: Unidentified
battle of Amazons (with Herakles or Achilleus?) (label).
~
@ COR 3 ~
Aryballos
from ? (1953 or earlier). Basle (private).
Scene:
Warrior (named) behind a charioteer (unnamed) in a chariot.
Date:
c.630 (Schefold); c.625 (Friis Johansen); 630–615 (Arena, p.
69); ‘Übergangsstil’ (Lorber, p. 16); no date in
Amyx.
Pατροϙλος
>
BÁToR
ÖKLÖS
>
Bátor
öklös
(Brave
fist-fighter)
R.
Wachter's interpretation:
Unspecified
scene with Patroklos (label).
~ @ COR 6 ~
Aryballos124
from Aigina (c.1830–42?); lost in World War II, formerly Wroclaw, Arch. Mus.
(similar to or the same as
Corinthian Aryballos with Herakles Fighting the Hydra in the
Getty Villa, July 2008)
Scene:
A chariot to l.; on the reins an owl (unnamed) and on a spear a Siren
(a) are sitting. Behind the chariot a woman to r. (b), seconding
Herakles (c) who is fighting some six heads of the Hydra, while
a crab (unnamed) is attacking his foot. From the other side a warrior
(d) is fighting two other heads of the monster, watched by his
charioteer (e) who is waiting in a chariot to r., looking back over
his shoulders.
Date:
EC (Lorber, p. 18); 615–600 (Arena, p. 70); ‘Corinthien
Ancien/Moyen’ (c.600–595) (Amandry–Amyx, p. 102);
Amyx (1988), by placing it before COR 8 and 13, seems to disagree
with his and Amandry’s earlier view; c.600–595 (LIMC v);
c.580 (LIMC vi).
(a)
Ϝους
>
iVó
ÖVeZi
>
ivó
övezi
(drinker/taproom
surrounds him)
(b)
Αθανα >
A'
úTJÁN
Á'
>
a'
útján áll
(stands
in his way)
(c)
Ηερακλες >
Ha
E RÁK LESi
>
ha
e rák(fene)
lesi
(when
this cancer lies in wait for him)
(d) Ϝιολαϝος
>
VÍ
ÖLi A' iVÓS
>
ví
öli a' ivós
(he
struggles with it, harasses him the drinker)
(e) Λαπυθος
> Λαπυθϙς
>
iLLA
BUTYKoS
>
illa
butykos
(the
bottle
(pitcher
with narrow neck)
runs
away)
Ivó
övezi,
a'
útján áll, ha e rák(fene)
lesi. Ví
(vív),
öli
(gyötri)
a'
ivós. Illa butykos!
(Drinker/taproom
surrounds him, stands in his way, when this cancer lies in wait for
him. He struggles with it, harasses him the drinker
(in
himself).
The bottle
(pitcher
with narrow neck)
runs
away.)
R.
Wachter's interpretation:
Herakles
and the Hydra (mixed) (labels).
When
you look at this nonsensical fight with the Hydra, after
reading
and comprehending the inscription, which complements the
picture, you will see it in different light. The fight is not
mythical at all, but a symbolic one, with a very realistic problem,
namely the drunkenness.
~
@ COR 7 ~
Aryballos,
from Karystos (?) (1845 or earlier). Athens, Nat. Mus. 341.
Scene:
A warrior (a) walking behind two horses, on one of which his page (b)
is sitting.
Date:
EC (Lorber); 4th q. 7th cent. (LIMC).
(a)
Ηιπποβατας >
HIBáBÓ'
VÁ'TÁS
>
Hibából
váltás.
(Change
by mistake.)
(b)
Ηιποστροφος
>
HIBa
OSZT RŐFÖS
>
Hiba
oszt rőfös.
(Error
deals in yards.)
R.
Wachter's interpretation:
Non-heroic
marching scene (labels).
~
@ COR 8 ~
Fr.
of an aryballos from Corinth (1971). Corinth, Arch. Mus. C-71-321.
Scene:
Several heads of the Hydra, three of which are being attacked by a
man to l. (named).
Date:
‘Corinthien Ancien’ (c.610–600) (Amandry–
Amyx); Amyx (1988), by placing it after COR 6 and before COR 13,
seems to disagree with his and Amandry’s earlier view;
c.610–600 (LIMC).
Ϝιολαϝος
>
Ví
ÖLi iVÓS
>
Ví,
öli ivós.
(He
struggles,
(but)
harasses him the drinker.)
R.
Wachter's interpretation:
Herakles
and the Hydra (label).
(See
COR 6.)
~@
COR 10 ~
Aryballos
from Greece, Warrior Group (see Amyx) (acquired 1922, ex Arndt
coll.). Amsterdam, A. Pierson Mus. 480.
Scene:
Fight between two warriors, one with a spear (a), the other with a
stone (b).
Date:
EC (Lorber; LIMC); EC (i.e. 620/615–595/590) (Amyx).
(a)
Αεϝας
>
Ah
E VAS
>
Ah,
e vas!
(Ah,
the steel!)
(b)
Εαορ > Εϙτορ{after
Wachter}
>
E
Kő
TÖRi
>
E
kő
töri!
(This
stone brakes it!)
R.
Wachter's interpretation:
Hektor
and Aias (labels).
~
@ COR 12 ~
Krater
from Caere, the Eurytios Krater (ex Campana inv. 33; 1856 or
earlier). Paris, Louvre E 635.
Scene:
Four klinai, on the two to the l. two men each, (a) and (b), (c) and
(d), on the two to the r. one man each, (e) and the guest (g);
between the two latter, standing to r. but turning her head to l., a
woman (f ). Under one handle two warriors (h) and (j), between them
the dead Aias (i) over his sword.
Also, a fight over the dead body of a warrior and a cooking
scene, uninscribed.
Date:
c.600 (Schefold; LIMC i); EC, ‘an der Schwelle des
Mittelkorinthischen’ (Lorber, p. 24); 600–590 (Simon–
Hirmer; LIMC iii–vi); EC (i.e. 620/615–595/590) (Amyx).
(a) Τοξος
>
TŐKe-íZÖS
>
Tőke-ízös.
(It
has a grape-vine taste.)
(b) Κλυτιος
>
oKKaL
ÜTi JÓ SZó
>
Okkal
üti jó szó.
(The
good word beats it with reason.)
(c) ∆ιδαιϝον
>
De
ÜDe A' IVÓN
>
De
üde a' ivón.
(But
it is refreshing on the drinker.)
(d) Ευρυτιος
>
E
ÚR/ÜRü ÜTI ÖSSZe
>
E
úr/ürü üti össze.
(This
gentleman/lamb brings it well together.)
(e) Ϝιφιτος
>
VÍ
FIT ŐS
>
Ví
(vív)
fit
(fiút)
ős.
(The
old struggles with the young.)
(f ) Ϝιολα
>
éVÜ'
ÖL A'
>
Évül
öl a'.
(That
kills in years.)
(g) Ηερακλες
>
HÉRAKLÉSZ/HÉRA
KeLL ÉSZ
>
Héraklész/Héra, kell ész!
(Heracles/Hera,
brain is needed!)
(h)
∆[.]οµ.[.]ες > ∆[ι]οµε[δ]ες
>
De
[J]Ó Mi É[D]ES
>
De
[j]ó mi é[d]es!
(But
sweet is so good!)
(i) Αιϝας
>
Á'
IVÁS
>
Ájj
ivás!
(Drinking,
stop!)
(j) Ολισευς
>
ÖL
IS E ŰZő
>
Öl
is e űző.
(This
practice torments/kills too.)
R.
Wachter's interpretation:
Herakles
at Oichalia (labels). Suicide of Aias (labels).
The
chat in the symposium is not the most enlightening conversation, but
still there is some moral in it, valid even today. Contrary to this
lifelike talk with a universal, although not earthshaking message,
what R. Wachter and the other scientists suggest are only meaningless
name tags. One should imagine the painter going into a symposium to
take a snapshot ("Don't move! Keep smiling!"), than next
day he offers the vases for sale: "Yes, I put your name next to
your face, so, nobody can deny that it is you there, throwing up
behind Heracles' back! You can have it this small aryballos size or
enlarged on a pelike." Just ask yourself, who else would buy a
krater depicting Toxos Nobody, but Toxos Nobody himself. It sounds
very scientific that these or similar "names" are
"attested" in many other places, so, this must be also a
name. No, this reasoning is ridiculous. The name Ronda is "attested"
all over the world, and the word(!) “ronda” is attested
in many writings in Hungary, but no mother in her right mind would
name her daughter by this name, because it stands for 'ugly'
in Hungarian.
~
@ COR 13 ~
Aryballos
from ?, near the Boar-Hunt P. (Amandry, Amyx) (found ?), Athens, P.
and A. Canellopoulos Mus. 392.
Scene:
An archer to r. (a), who has left his bow behind, and his companion
to l. (b) are fighting the Hydra between them. To the r. a
horse is waiting.
Date:
EC (Lorber); ‘Corinthien Ancien’ (c.600) (Amandry–Amyx);
Amyx (1988), by placing it after COR 6 and 8, seems to disagree with
his and Amandry’s earlier view; c.600 (LIMC).
Ηερακλες
Ϝιολαϝος
>
Ha
ÉRi AKi LESi VÍ ÖL A' iVÓS
>
Ha
éri aki lesi
(a
szomj),
ví, öl a' ivós.
(When
befalls him what eyes him
(the
thirst),
the drinker struggles, kills.)
R.
Wachter's interpretation:
Herakles
and the Hydra (labels).
(See
COR 6.)
~
@ COR 15 ~
Aryballos
from Caere, by the Boar-Hunt P. (see Amyx) (1865 or earlier). Vienna,
Kunsthistorisches Mus. 3473.
Scene:
Two warriors (one named, the other not) fighting with spears,
behind their backs their pages on horses.
Date:
MC (Lorber); c.590–580 (LIMC); MC (i.e. 595/590–570)
(Amyx).
Αινεας
>
ÁJJoN-E
SZó
>
Ájjon-e
szó?
(Should
one keep one's word?)
R.
Wachter's interpretation:
Unspecified
fight involving Aineias (label).
~
@ COR 16 ~
Aryballos
from Greece (bought by C. T. Seltman in the Athens market), recalling
the Käppeli, Wellcome, and Akrai Painters (see Amyx) (1949 or
earlier). Liverpool, Nat. Mus. and Galleries on Merseyside, Liverpool
Mus. 49. 50. 3.
Scene:
Two horsemen, (a) and (b), on dark horses, unnamed and (c), galloping
to r. An unbearded figure to r. (d), holding a lyre, is facing
a bearded one (e); a huge krater or lebes is standing between the
two.
Date:
probably early MC (Amyx).
(a) Καστορ
>
aKASZTÓRa
>
akasztóra
(for
hanging)
(b) Ιποµαχιδας
>
hŰBŐ'
Mi ADJa
ÜDe A SZó
>
hűből
mi adja üde a szó
(from
faithful what makes one the word is fresh)
(c) Αιθον
>
Διθον
>
DICSŐN
>
dicsőn
(on
glorious)
(d) Φορβος
>
Fű-ORVOS
>
fű-orvos
(herb-doctor)
(e) .αστυποτας
> Ϝαστυποτας
>
iVÁSTÚ'
áPO'TASS
>
ivástól
ápoltass
(save
me from drinking)
Akasztóra
hűből mi adja? Üde a szó dicsőn. Fű-orvos
ivástól ápoltass.
(From
faithful to hang what makes one? The word is fresh on glorious.
Herb-doctor, please, save me from drinking.)
R.
Wachter's interpretation:
Scene
of return (?), probably non-heroic (i.e. pseudo-heroic) (labels).
~@
COR 17 ~
Aryballos
from Corinth, related to the Liebighaus Group (see Amyx) (1954).
Corinth, Arch. Mus. C-54-1.
Scene:
A diaulos-player to r. (a) is playing for a single dancer facing l.,
who is leaping high in front of a queue of six more dancers standing
behind him in pairs. Inscr. (b) begins in front of the leading
dancer’s face, and then, in a wavy line, passes under him,
above the first pair of his companions, under the second pair,
and finally ends in front of the third pair. On the handle
there is a woman’s face as on COR 18 (ph. in Roebuck–Roebuck).
Date:
MC (Roebuck–Roebuck, Lorber); 580–575 (Arena, p. 83,
referring to Roebuck-Roebuck, p. 160); c.580 (Guarducci (1987) ); MC
(i.e. 595/590–570) (Amyx).
(a) Πϙλυτερπος
(ο>ϙ!)
>
BóKoLó
ŰT ÉRi BŐS
>
Bókoló
űt éri bős!
(He
is receiving a lot of compliments.)
(b)
Πυρϝιασπρϙχορευοµενοσαυτοδεϝοιολπα
(ο>ϙ!)
>
BŰRFI
A SZaPoRa KíGYÓ-RÉVŐ MENŐS AVaTÓ
De ÉVŐ JÓ LáBBA'
>
Bűrfi,
a szapora kígyó-révő, menős avató,
de évő jó lábbal.
(Bűrfi
(Pyrwi), the quick snake-charmer, the top initiator, but with aging
good legs.)
Wachter's
interpretation:
Nonheroic
dancing scene. (a) Label. (b) Label and - at the same time -
dedication (metrical, with property formula) to a human artist:
‘(This is) Pyrwias the leading dancer,
and his (is) the olpa.’
~
@ COR 18 ~
Aryballos
from Corinth (c.1852, Rhousopoulos). London, British Mus. 1865. 12-13
I.
Scene:
On the handle there is the head of a woman (a); below, on the body of
the vase, a list of men’s names, (b)–(j).
Date:
c.625 (Jeffery); EC (Lorber);180 the number in Amyx suggests that he
even considers it MC (i.e. 595/590–570), which seems most
reasonable (see COR 17).
(a)
Αινεταεµι >
ÁJJoN
E úTTA' E MŰ
>
álljon
e úttal
(utalással)
e mű
(Let
this writing stand with this allusion)
(b)
Μενεας >
MÉN
E' A SZó
>
mén
el a szó
(the
word goes away)
(c)
Θερον >
úTJa
E íRÓN
>
útja
e írón
(its
way on this writer)
(d)
Μυρµιδας >
Mi
ÚRi MŰ De A SZó
>
mi
úri mű de a szó
(what
is a gentleman's work but the word)
(e)
Ευδιϙος
>
ÉVőDIK
ŐS
>
évődik
ős
(wrestles
with ancestor)
(f
) Λυσανδριδας
>
LÜSZÁN
DáRIDó A SZó
>
Lüszán
(Lycián)
dáridó a szó
(on
Lycia carousal is the word)
(g)
Χαρικλιδας >
GYÁRI
KaLLI aDÁS
>
gyári
(járja)
kalli
(kallja/koptatja)
adás
(goes
about wears it away giving)
(h)
∆εξιλος >
DE
KöZ ILLÓS
>
de
köz
(közösség)
illós
(but
the community is volatile)
(i)
Ξενϝον
>
KéZEN
VONi
>
kézen
voni
(vonja)
(pulls
it by hand)
(j)
Φρυξ >
Fa-RÜKöS
>
fa-rükös
(fa
ivókürt)
(wooden
drinking horn)
Álljon
e úttal
(utalással)
e mű. Mén el a szó, útja e írón,
mi úri mű, de a szó évődik ős
Lüszán
(Lycián).
Dáridó a szó, gyári
(járja),
kalli
(kallja/koptatja)
adás, de köz
(közösség)
illós, kézen voni
(vonja)
fa-rükös
(fa
ivókürt).
(Let
this writing stand with this allusion. The word goes away, its way is
by the aid of this writer, what is a gentleman's work, but the word
wrestles with ancestors of Lycia/Lucia. Carousal is the word, goes
about, giving wears it away, but the community is volatile, pulls it
(down)
by hand the wooden drinking horn
(drunkenness).)
Wachter's
interpretation: Probably
a love-gift. (a) Label of the woman represented. (b)–( j) List
of men’s
names.
~
@ COR 19 ~
Skyphos
from Attica (Kouvara), by the Samos P. (see Amyx) (1944 or earlier).
Paris, Louvre CA 3004.
Scene:
On one side a chariot to l. (a), waiting (the label starts under the
bellies of the horses), Athena (b) with a jug, Herakles (c) fighting
the Hydra from the l., while his companion (d) is helping from the r.
On the other side six padded dancers, (e)–(i), one standing
next to a dinos plunging his hand into it, and five dancing.
The question as to which name designates which figure in the
dancing scene has never been seriously addressed, as far as I know.
The men, one (1) standing next to the dinos under the handle, the
rest (2–6) dancing, are all dressed in the same way, but unlike
the mythical figures. Only five names are available for
the whole group of six men. Beginning at the r., the first
dancer (6) is clearly (i), the second (5) (h). If we then jump to the
l. and try to figure out whose name (e) is, at first
sight it must be attributed to the man who is not dancing, but is
turned towards the krater (1). We then realize that the second dancer
from the l. (3) actually seems to bear two names, (f ) and (g), at
least one of which cannot be his but must belong to either (2) or
(4). From the arrangement of the inscrs. the most probable solution
is that (2) is (f ) (the name actually starts to his r. and ends to
his l.), (3) is (g), and (4) lacks a name.
Date:
mid-1st q. 6th cent. (Amandry, p. 32); c.580 (Schefold); MC (Lorber);
Corinthien Moyen avancé, c.580–570 (AmandryAmyx; LIMC).
(a)
Ηερακλεος >
Ha
ÉRi AKoLó E ŐS
>
ha
éri akoló e ős
(When
touches him the akoló
(the
measuring stick for vine capacity)
this ancestor)
(b) [. . .] α > ??
(c)
Ηερακλες >
Ha
ÉRi AKi LESi
>
ha
éri aki lesi
(when
touches him who eyes on him)
(d)
Ϝιολας
>
VÍ
ÖLi ASZú
>
ví
öli aszú
(struggles,
the aszú (wine) torments him)
(e)
Λορδιος >
LŐRe
DŰ' ŐS
>
lőre
dűl ős
(the
plonk flows ancient)
(f
) Ϝηαδεσιος
>
iVó
HA iDÉZ JÖSSZ
>
ivó
ha idéz jössz
(drinker
when calls you come)
(g)
Παιχνιος >
aBBA'
ÍGYeN JÓS
>
abban
ígyen jós
(this
way in that he is a seer)
(h)
Ϙοµιος
>
KOMa
JÓ iSZa
>
koma
jó isza
(the
old friend is a good drinker)
(i)
[.]οξιος >
[B]ŐKeZŰ
ŐS (ξ>K_Z)
>
[b]őkezű
ős
(ancestor
is generous)
Ha
éri akoló e ős ... ha éri aki lesi ví,
öli aszú.
(
When
touches him the akoló
(the
measuring stick for vine capacity)
this ancestor ... when touches him who eyes on him he struggles, the
aszú (wine) torments him.)
Lőre
dűl, ős ivó ha idéz jössz, - abban ígyen
jós. Koma jó isza, bőkezű ős.
(The
plonk flows, ancient drinker when calls you will come, - this way in
that he is a seer. The old friend is a good drinker, ancestor is
generous.)
Wachter's
interpretation:
Herakles
and the Hydra (labels). Padded men dancing (labels).
~
@ COR 20 ~
Fr.
of a cup from Delphi (29 June 1896). Delphi, Arch. Mus. 4050.
Scene:
Upper half of a (named) youth to l., extending his hands. Behind him
a pair of hands holding a wreath.
Date:
MC (Lorber); MC (according to the place in Amyx’s list).
Απελλον
>
A
PELeLŐN
>
a
pelelőn
(szelelőn)
(on
the sifting/sieving by the wind)
Wachter's
interpretation:
Unidentified
scene with Apollon (label).
~
@ COR 22 ~
Fr.
of a cup from Perachora (1930–3). Athens, Nat. Mus., Perachora
2529.
Scene:
Lower part of three women to r. and one to l.; in between is the
inscr.
Date:
LC (Lorber); apparently still MC (according to the place in Amyx’s
list).
Χαριτες
>
GYÁR
ÍTÉSZ/ÜTÉS
>
gyár
(jár)
ítész/ütés
(judge/beating
is due)
Wachter's
interpretation:
Unidentified
scene with Charites (labels).
~
@ COR 24 ~
Column
krater from Italy (Payne; Lorber, n. 256), by the Detroit P. (see
Amyx) (1928 or earlier). New York, Metropolitan Mus. of Art 27. 116.
Scene:
Two couples, each a warrior in long robe and his lady in long
exquisite dress, facing each other: (a) and unnamed, (b) and unnamed.
In a chariot to r. the bridal pair, (c) and (d), are faced by a man
and a woman to l., unnamed and (e), standing beyond the four horses,
(f) (under their bellies) and (g) (between their forelegs). In front
of the horses another couple (a warrior and woman) with only one name
(h) in between them,210 and finally a naked warrior (i)
approaching from the r.
Date:
early 6th cent. (Alexander); c.580 (Schefold; LIMC); MC (Lorber); MC
(i.e. 595/590–570) (Amyx).
(a)
∆αιφον >
üDv
ÁJJ FÖNN
>
üdv
állj fönn
(salvation
do hold up)
(b)
Εκτορ >
E
KeTTŐRe
>
e
kettőre
(for
these two)
(c) Αλεξανδρος >
ALEKSZANDROS/ALÉ' oKoZANDóRa ŐS
>
Alekszandros/alél okozandóra ős
(Alexandros/ancestor
apathetic on the effect
(of his action))
(d) Ηελενα >
HELENA/Ha ELLENe Á'
>
Helena/ha ellene áll
(Helena/if
stands against)
(e) Αυτοµεδουσα
>
AVaTÓ íM E iDő ÓVáSA
>
avató ím e idő óvása
(look
the guarding of this time is initiating)
(f ) Πολυπενθα >
aPoLVa BÉNíTTYA
>
apolva
(csókolva)
bénítja
(she
cripples him by kissing)
(g) Ξανθος >
Ki SZÁNaTOS
>
ki szánatos
(who
is pitiable)
(h) Η[iπ]πο[i] > Η[μσ]πο/
Η[τσ]πο
>
Ha[MiS]BÓ'/Hi[TeS]BŐ'
>
hamisból/hitesből
(from
insincere/wedded wife)
(i) Ηιπολυτος >
HŰ aPOLó óVaTOS
>
hű apoló
(szerető)
óvatos
(faithful
lover is cautious)
Üdv állj fönn e kettőre! Alekszandros, alél
okozandóra ős, Helena ha ellene áll. Avató ím e idő óvása. Apolva
(csókolva)
bénítja, ki szánatos; hamisból/hitesből hű apoló
(szerető)
óvatos.
(Salvation
do hold up for these two! Alexandros, ancestor apathetic on the effect
(of his action),
Helena if stands against. Look, the guarding of this time is initiating. She
cripples him, who is pitiable, by kissing; the faithful lover, from
insincere/wedded wife, is cautious.)
“Epigraphy: (h) The space is big
enough for two pi-s (Lorber). The last iota was first supposed to exist by
Arena. From original detailed photographs this letter is very likely, also
because no other letter in which a Greek name can terminate fits better (see
dr.: in black are the remains of paint; in outline, the slightly darker shadows
indicate where there was once paint; dotted are other marks on the surface).
After the iota there are no more letters (Payne’s suggestion, 'Ιππομδων?, is
impossible); the surface is no more damaged than higher up where the other
letters are. If the reading is correct this agrees with the direction principle
(see §105), which suggests that the label belongs to the woman to its r.”
Wachter. So, it is all guessing to suit their preconception of labelling. My
guessing of missing letters is based on finding a meaningful sentence suited to
the well known context.
Wachter's
interpretation:
Wedding
of Paris and Helene (mixed) (labels).
Labels
(name-tags) under the horse's bellies? Naming the horses, not the
guests on this famous wedding? "Horsey" name for a woman?
Come on, be real!
~
@ COR 24A ~
Fr.
column krater from Sicily (?), attributed by Zimmermann (pp. 7 f.) to
the painter of Munich 237213 (1978 or earlier). Berne, Arch. Seminar
der Univ. 36.
Scene:
Chariot and ‘three maidens’ to r. (no names preserved)
watching two warriors, one (a) in front of the other (unnamed), who
are fighting against two others, one (c) in front of the other
(unnamed), over the body of a dead warrior (b), head to the l. Behind
(c) and his companion there are three women to l., the front one
named (d), and a chariot.
Date:
early MC (Zimmermann); c.580–570 (LIMC).
(a)
Μεµνον > Μεµνος
>
íME
MéN ŐS
>
íme
mén ős
(look,
the old man is going)
(b)
Αντιλχος >
A
NőTŰ' eL íGY OSo'
>
a
nőtől el így oson
(he
sneaks away from the woman this way)
(c)
Αχιλευς >
A
GYŰLő E'ŰZi
>
a
gyűlő
(gyülekező
jel)
elűzi
(the
sign for assembling drives him away)
(d)
Θετις
>
Οετις
>
Ő
ETTŰ' IS
>
ő
ettől is
(from
this too)
Íme
mén ős,
a
nőtől el így oson. A gyűlő
(gyülekező
jel)!
Elűzi ő ettől is.
(Look,
the old man is going, he sneaks away from the woman this way. The
sign for assembling drives him away from this too.)
Wachter's
interpretation:
Achilleus
and Memnon fighting over the dead Antilochos (labels).
~
@ COR 24B ~
Frs.
of a column krater from Sane on the western peninsula of Chalkidike,
placed by Vojatzi (pp. 85 f. with nn. 663–8) near the Cavalcade
P. (c.1969–73?, see ibid. n. 586). Panorama (Thessaloniki)
Coll. S. Andreadis.
Scene:
A naked hero (a) to r. is holding his hands from behind over the eyes
of a man (b), who is sitting on a throne to r. From the r. two heroes
are approaching, of whose names only (d) is preserved. One of them is
holding (b)’s hand. Between them and (b) there is a woman to r.
(c). On a second set of frs. there are two letters, (e), next to a
winged figure.
Date:
MC, c.575 (Vojatzi, pp. 79, 85 f. with nn. 663–8; LIMC).
(a)
Ειασον >
E
JÁSZON/ÍjÁSZON
>
e
jászon/íjászon
(on
this Jassic
(Jazygian)/bowman)
(b)
Φiνευς >
FI
NE ÜSS
>
fi
ne üss
(young
man do not beat)
(c)
Τι.α.dρα > Τιμανσρα
>
üTI
MÁN SoRA
>
üti
mán sora
(his
fate already beats him)
(d)
Πουλυδ(ε)υκ(ε)ς
> Πονλυδνκς
>
BŐN
LÜDNeK iS
>
bőn
lüdnek is
(amply
for a Lydian too)
(e) [. . .] αk[. . .] ??
E
jászon/íjászon fi ne üss! Üti mán
sora, bőn lüdnek is ...
(Young
man, please, do not beat on this Jassic
(Jazygian)/bowman!
His fate already beats him, amply for a Lydian too ...)
R.
Wachter's interpretation:
Argonauts
visiting Phineus (labels).
~
@ COR 25 ~
Cup
from Corinth, by the Klyka (or better: K(a)lyka?) P. (see Amyx) (1885
or earlier). Athens, Nat. Mus. 992.
Scene:
Two women’s heads (named). Round the cup, padded dancers and
battle scenes (no labels). Date:
MC (Lorber).
Νεβρις
Κλυκα >
NEVéRe
ÜSSe Ki iLUKA/aLUKA
>
Nevére
üsse ki Iluka/Aluka
(alvóka).
(Put
it on her name, what is Iluka/Aluka
('sleepy').)
Wachter's
interpretation:
Probably
two hetairai (labels).
~
@ COR 28A ~
Aryballos
from Vulci, Necropolis dell’ Osteria (19 Feb. 1981). Rome, Mus.
Etrusco di Villa Giulia (?).
Scene:
Two groups of three women walking to r., named (a) behind the first
group and (b) across the second. They are being led by a single woman
(c) and are following Apollon (d), who is holding a lyre. In front of
them a man (e) and a woman (f) in a chariot are greeted by Athena (g)
and Aphrodite (h), who are beyond the horses and are holding a crown
and an apple, respectively. Behind these two, also to l., there is a
pair of women (i). Back to back with them is Zeus (j) on his throne,
addressed by Hermes with kerykeion (k), behind whom Hera (l) is
sitting on her throne (in frontal view, her head turned towards
Hermes and Zeus).
Date:
‘corinzio medio’ related to the ‘show-pieces’
(for which see Payne (1931), 118 ff.), and close to Timonidas
(Sgubini Moretti–Pandolfini); early 6th cent. (LIMC).
(a)
Μοσαι >
Mi
Ő SZÁJ
>
Mi
ő, száj?
(What
is she, a mouth?)
(b)
Μουσαι >
íM
Ő USZÁJ
>
ím
ő uszály
(look
she is a barge/train/under someone's sway)
(c)
Καλλιοπα >
Ki
ALuL JÓBA'
>
ki
alul jóban
(who
is underneath in good)
(d)
Απελλον >
ABBa'
ÉL iLLŐN
>
abban
él illőn
(in
that she lives duly)
(e)
Ηερακλες >
HÉRAKLÉSZ
# Hű-E RÁ Ki LES
>
Héraklész,
hű-e rá ki les
(Heracles,
is she who lies in wait for her faithful)
(f
) Ηεβα >
HűEBB
A'
>
hűebb
a'
(she
is more faithful)
(g)
Αθανα >
ATTYÁNÁ'
# ATHANA/ATHENA>
atyjánál
- Athena
(to
her father - Athena)
(h)
Αφροδιτα >
A
FőRŐ' üDŰ'T A' # AFRODITA
>
a
főről üdült
(épült
fel)
a' - Aphrodité
(she
is built up from the head - Aphrodite)
(i)
Χαριτε >
aGYÁRa
ÍTÉ'
>
agyára
ítél
(on
her brain makes judgment)
(j)
Ξευς
>
KaZEUS
# Ki ZEUSZ
(Ξ
=
K_Z) >
Kazeus
ki Zeusz
(Kazeus
who is Zeus)
(k)
Ερµας >
ERő
Ma A SZó
>
erő
ma a szó
(power
is the word today)
(l)
Ηερα >
HÉRA
>
Héra
(Hera)
Mi
ő, száj? Ím, ő uszály ki alul jóban,
abban él illőn. Héraklész, hű-e rá
ki les? Hűebb a' atyjánál Athena, a főről
üdült
(épült
fel)
a'. Aphrodité agyára ítél Kazeus ki
Zeusz. Erő ma a szó, Héra.
(What
is she, a mouth? Look, she is a barge/train/under someone's sway who
is underneath in good, in that she lives duly. Heracles, is she, who
lies in wait for her, faithful? Athena is more faithful to her
father, she is built up from the head. On Aphrodite's brain makes
judgment Kazeus who is Zeus. Power is the word today, Hera.)
R.
Wachter's interpretation:
Wedding
of Herakles and Hebe (labels).
Some
of the labels are indeed name-tags, others are words spoken by the
depicted persons, or they are both labels and spoken (bubble) words
at the same time, notably so when they are "misspelled".
Here
we are told about the shifting of power on the Olympus due to Athena
and Aphrodite siding with their father, Zeus. This is the fight for
supremacy between Hera and Zeus (“a
rebellion
of the pre-Hellenic population,
described in the Iliad as a conspiracy against Zeus”
but
as a matter of fact, a revolt against “the
patriarchal Hellenes who invaded Greece and Asia Minor early in the
second millennium BC”
as it described by Robert
Graves
in The
Greek Myths).
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