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

CONTENTS Amazons & Scythians 'Nonsense Inscriptions'?! Making Sense Etruscan=Hungarian Cretan Hieroglyphs Linear A Sundry MY HUNGARIAN PAGES
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Blog : Making SenseKeywords : Achilleus, boar-hunt, Agamemnon, Trojan Cycle

Making Sense after Rudolf Wachter IV. (Corinth 2.)

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.


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.

Here in COR 30 the “misspelled Achilleus” actually fights drunkenness, while COR 33 is a very unusual boar-hunt in which the boar sits on the hunter! COR 51 Wachter interprets as “Abecedarium (also label?).” Achilleus is spelling out the abecedarium to confuse his opponent, isn't it? The picture and the corresponding text is actually an excellent mnemonic tool to memorise the alphabet!


~ @ COR 30 ~


Cup from Greece, unattributed (Amyx) (1862 or earlier). Brussels, Bibliothéque Royale, Feytmans P. 20.

Scene: Two warriors, (b) and (c), fighting, behind their backs their pages, (a) and (d), on horseback. On the other side the same scene with (f ) and (g) assisted by (e) and (h). Between the scenes, under the handle, (i) is running to r. and looking back.

Date: MC (Lorber, p. 31 f.); 600–575 (Arena, p. 76; Lane); c.580 (Schefold; LIMC i, partly); c.590–580 (LIMC i, partly; v); c.590–575 (LIMC iii).


(a) Σαρπαδον > SÁRBA' óDON > sárban ódon (in the mud are archaic)

(b) Εκκτορ > ÉKeK TÖR > ékek tör (decorations, breaks)

(c) Αχιλλεους  > A GYŰLöLő E ÓVáS > a gyűlölő e óvás (the spiteful this protest)

(d) Φοινιξ > FOJNI KéSZ > folyni kész (is ready to flow (for blood letting))

(e) Αιϝας > ÁJJ iVÁS > állj ivás (stop drinking)

(f) Αιϝας > ÁJJ VAS > állj vas (stop the steel)

(g) Αινεας > ÁJJoN-E A SZó > álljon-e a szó (should the word stand)

(h) Ηιποκλες > HŰ BÓKKaL ÉS > hű bókkal és (with faithful compliment and)

(i) ∆ολον > iDŐLÖN > időlön (ünnepélyesen) (ceremonially)


Sárban ódon ékek, tör a gyűlölő, e óvás folyni kész. Állj ivás, állj vas! Álljon-e a szó hű bókkal és időlön (ünnepélyesen)? (Archaic decorations are in the mud, the spiteful breaks (things), this protest is ready to flow (for blood letting). Stop drinking, stop the steel! Should the (given) word stand with faithful compliment and ceremonially?)


Wachter's interpretation: Fights between Achilleus and Hektor, the Aiante and Aineias (with peculiarities); Dolon running (labels).

The question: is Achilleus' name in nominative or genitive is academic. The "names" are either "misspelled" intentionally to reflect both on the person and his/her spoken words or they are bubble inscriptions, the words uttered by the no-name actors.


~ @ COR 33 ~


Pyxis from a place (formerly) called Mertese, near Corinth, by the Dodwell P. (see Amyx) (1806 or shortly before). Munich, Staatliche Antikensammlung SH 327.

Scene (on the lid): A man (a) with kerykeion; a woman (b), touching the head of a boy (c), who is running; another woman (a servant?) (d), all to r. Then two men to r. attacking a boar from behind, (e) with a spear, (f ) with his bow; another man (g) is lying under the boar, and another (h) is attacking it from the front.

Date: 600 (Sieveking–Hackl); MC (Lorber; LIMC); c.590 (Schefold).


(a) Αγαµεµνον > A GÁM E'MeNŐN > a gám (gyám) elmenőn (the support is on the way out)

(b) Αλκα > A LuKA > a luka (his arse)

(c) ∆οριµαχος > oDOR/uDOR IMÁDJa ŐS > odor/udor (öblös üreg) imádja ős (hollowed the old man adores it)

(d) Σακις > iSZÁK IS > iszák (iszákos/tömlő) is (drunkard/goatskin too)

(e) Ανδρυτας > ANDáRa ÜT/Ű'T A Su- > andára (merengőre) üt/ült a su- (on the musing takes after/is sitting the droopy)

(f ) Λαϙον > -LA KON > -la kon (kan) (eared boar)

(g) Φιλον > Fi ILLŐN > fi illőn (the young man duly)

(h) Θερσανδρος > CSÉRoSAN DúR Ő iS > csérosan (sárosan) dúr ő is (spattered with mud he roots about as well)


A gám (gyám) elmenőn, a luka odor/udor (öblös üreg), imádja ős iszák (iszákos/tömlő) is. Andára (merengőre) üt/ült a sula kon (kan), fi illőn csérosan (sárosan) dúr ő is. (The support is on the way out, his arse is hollowed, the old drunkard/goatskin adores it too. The droopy eared boar takes after/is sitting on the musing one, the young man, duly spattered with mud, roots about as well.)


Wachter's interpretation: Boar-hunt, probably pseudoheroic (labels).


~ @ COR 38 ~


Fr. of a column krater from Selinus (gift c.1904–7: W. Geominy, per litt.). Bonn, Akademisches Kunstmus. der Univ. 1114. 2.

Scene: Three warriors to r., one perhaps sitting, labelled (a) under the base of the handle, the second walking (b), the third probably walking as well (no name preserved).

Date: MC (Lorber); EC (LIMC i); c.600 (LIMC iii).


(a) Αιϝας > Ájj IVÁS > Állj ivás! (Stop drinking!)

(b) ∆ιοµεδες > De JÓ Mi ÉDES > de jó mi édes! (But sweet is so good!)


Wachter's interpretation: Unidentified scene with Aias and Diomedes (labels).


~ @ COR 39 ~


Fr. of a column krater (?) from Old Smyrna (1948–51). Izmir, Arch. Mus.

Scene: Lower part of a woman, the inscr. is written on her dress.

Date: not EC, but MC, to judge from the letter-forms (Lorber, p. 49).


Αλκθλα > ALaK-CSaLA > Alak-csala (Figure-cheating)


Wachter's interpretation: Unidentified scene (label).


~ @ COR 40 ~


Krater from Caere, by the Ophelandros P. (see Amyx) (ex Campana inv. 56; 1857 or earlier). Paris, Louvre E 632.

Scene: A diaulos-player playing for a padded and long-bearded dancer (both unnamed). Two men, (a) with a short beard and (b) without beard, carrying a krater, are both watching the dancing scene, (a) looking back over his shoulder. To the r. a man (c) to l. with a short beard and a long but limp phallos, holding a stick in either hand, is beating or at least threatening the two. On the other side two men are shackled, heads in stocks and feet in fetters; a woman brings food on a plate; to the l. a store of six kraters (no inscrs.).

Date: 600–575 (Trendall–Webster); MC (Lorber); 590–570 (LIMC).


(a) Ευνος > E UNOS > E(z) unos. (This is boring.)

(b) Οµριϙος > Ő Ma RÍKOS > Ő ma ríkos (ríkogat). (He keeps whining today.)

(c) Οφελανδρος > Ő FÉL A Nő DuRROS > Ő fél, a nő durros (morgós). (He is afraid, the woman is grumbler.)


Wachter's interpretation: Men carrying a krater (labels).


~ @ COR 44 ~


Column krater (fragmentary), probably from Italy (ex Campana inv. —; 1857 or earlier). Paris, Louvre E 638BIS.

Scene: Achilleus (no name preserved) about to kill Troilos (a), holding him by his legs over the altar. From the r. some Trojans, (b)–(e), arrive to help Troilos.

Date: MC (Lorber); 1st q. 6th cent. (LIMC i, ‘Achilleus’); c.580–570 (LIMC i, ‘Aineias’; v).


(a) Τροιλος > ToRÓJJa iLLŐS > torolja illős (he avenges it properly)

(b) Ηιπιχος > HŰ BIGGYÖS > hű biggyös (csatlós) (the faithful henchman/shield-bearer)

(c) Πυραιχµας > eB URA ÍGY MÁS > eb ura így más (his dogsbody's master this way is different)

(d) Αινεας > ÁJJoN-E A SZó > álljon-e a szó (should the word stand)

(e) Εϙτορ > E Ku'TÓRa/Ka'TORRa > e kujtóra/kajtorra (csavargó/kajtár (hadak)) (on this tramping/pillager)


Torolja illős hű biggyös (csatlós). Eb ura így más! Álljon-e a szó e kujtóra/kajtorra (csavargó/kajtár (hadak))? (The faithful henchman/shield-bearer avenges it properly. This way his dogsbody's master is different! Should the (given) word stand for this tramping/pillager?)


Wachter's interpretation: Achilleus and Troilos (labels).

If it is really Troilos then he was not very popular amongst his henchmen.


~ @ COR 46A-B ~


Frs. of a column krater (A), from ?, and a plate (B), once thought to be the lid of (A), from Italy (found ?). Paris, Cabinet des Médailles 1648 (Fröhner VI 400).

Scene: (A) A bird to l. standing on the ground under a horse, to l. of which the two hind legs and the tail are preserved. Of the horseman one foot remains; he is labelled (a) underneath. Next, a warrior (b) rushing to r., apparently stabbing one to r. (c), who is on one knee (on the adjoining fr. his r. arm, on which he is leaning, is visible). From the r. two warriors, (d) and (e), are approaching. Next comes a warrior to r. (f ), fighting one to l. (no name preserved) over the dead body of a third, with head to the r. (g). Finally, another pair fighting each other, (h) and (i). (B) A woman to r. (a); beyond a Centaur to r. (b). The latter receives a baby from a man facing him (no name preserved). Some purple colour is left on the Centaur’s body and the woman’s mantle. Date: (A) MC (Lorber). (B) 600–575 (LIMC), i.e. MC.


(A) (a) Ευµελος > EVVe' íM ÉL Ő öSZi > evvel ím él ő (a madár) öszi (look, on this it (the bird) feeds, it eats him)

(b) Πατροκλος > BÁToR OKuLÁS > bátor okulás (brave lesson)

(c) [. . . ?]ευρυµαχος > [τρδκ]ευρυµαχος  > [TöRőDiK] EVőRű' íM A GYŐZő > [törődik] evőről ím a győző (look, the victor [cares] about eaters)

(d) ∆aiπυλος > oDA IP(a) ÜLü ÖSZi > oda ip(a) ülü (ölyv) öszi (the father-in-low is gone, the hawk eats him)

(e) ∆ινυµος > ∆ινυρος > De INa ŰRÖS > de ina űrös (üreges) (but his sinew is spongy)

(f ) Αιϝας > A' Í(j) VÁS > a(z) í(j) vás (the bow desires)

(g) Ανδροµαχος > ANDóRa Ő MA GYŐZ > andóra (merengőre) ő ma győz (for day-dreamer he wins today)

(h) ∆ιοµεδες > De JÓ MÉD EZ > de jó méd ez (but he is a good Med)

(i) [. . .]ονας > [κεβρι]ονδς > [Ki ÉBeR Í(j)]ON iDőZ > [ki éber í(j)]on időz (who dwells on a drawn bow)

(B) (a) Χαριϙλοι > Χαριϙλϙι > GYÁRI KeLLéKŰ' > gyári (járja) kellékül (it comes as accessory (lid))

(b) Χιρον > GYŰRŐN > gyűrőn (gyűrűn) (on the ring)


(A) Evvel, ím, él ő (a madár), öszi - bátor okulás! [Törődik] evőről ím a győző. – Oda ip(a) ülü (ölyv) öszi. – De ina űrös (üreges). A(z) í(j) vás(ik) andóra (merengőre), ő ma győz. – De jó méd ez. – [Ki éber í(j)]on időz? (Look, on this it (the bird) feeds, it eats him - brave lesson! Look, the victor [cares] about eaters. – The father-in-low is gone, the hawk eats him. – But his sinew is spongy. The bow desires for day-dreamer, he wins today. – But he is a good Med. – Who dwells on a drawn bow?)

(B)  Gyári (járja) kellékül gyűrőn (gyűrűn – mármint a fedő!). (It comes as accessory (lid) on the ring.)


R. Wachter's interpretation: (A) Unspecified battle scene with Patroklos etc. (mixed) (labels). (B) Chiron receiving the baby Achilleus (labels).


~ @ COR 47 ~


‘Quatrefoil’ aryballos from Thebes (acquired 1897). Paris, Louvre CA 809.

Scene: None.

Date: ‘tardo corinzio I (575–550 av. Cr.)’ (Arena, p. 90); LC (Lorber, p. 53).


Αεσϙυλινοσπεταλα > A' ESKüVő üLLI NŐ-SeBET/SZePET ÁLA' > A' esküvő ülli (ülő/ünneplő) nő-sebet/szepet (szeplőt) álal (csal). (It cheats the wedding ceremony's women's wound/blot (blood-stain).)


Wachter's interpretation: Probably a dedication to a human (name in the nominative).


~ @ COR 48 ~


‘Quatrefoil’ aryballos from Thebes (acquired 1890). Berlin, Antiken sammlung V. I. 3177.

Scene: None. Date: LC (Lorber).


Κενις > KÉNESő (KENESő)/KÉNI Só > kéneső (keneső)/kéni só (mercury/quicksilver (Cynnabaris)/salt of sulphur)


Wachter's interpretation: Probably a dedication to a human (name in the nominative).


~ @ COR 49 ~


‘Quatrefoil’ aryballos from ? (1888 or earlier). Athens, Nat. Mus. 337.

Scene: None. Date: LC (Lorber).


Φιδιας > Φιλιας > FIL-aJJAZó > fil-aljazó (fel/kis alapozó) (up/small primer (for make-up))


Epigraphy: The third letter is certainly a delta, not a lambda.” This Wachter's statement is wrong! Not just its perfectly fitting label with lambda suggest the contrary, but the likeness to the following member of the ‘Quatrefoil’ also suggests a λ in the third place.

Wachter's interpretation: Probably a dedication to a human (name in the nominative).


~ @ COR 50 ~


‘Quatrefoil’ aryballos from ? (1888 or earlier). Athens, Nat. Mus. 338.

Scene: None. Date: LC (Lorber).


Ϙυλιας > KÜL-aJJAZó > kül-aljazó (outer/external primer (for make-up))


Wachter's interpretation: Probably a dedication to a human (name in the nominative).


~ @ COR 50A ~


Aryballos from Boiotia (acquired 1899). Paris, Louvre CA 1266 (L 37).

Scene: Three warriors. The inscr. is written in the large free space under the handle and is not related to the scene.

Date: ‘Style corinthien’ (Pottier, comparing the aryballos with COR 47, LC); LC (Payne, who knew a number of similar examples, found on different sites).


Αγρανο > A GaRA NŐ > A gara (gőgös/kényes) nő. (The proud/fastidious woman.)


Wachter's interpretation: Probably a dedication to a human (property formula).


~ @ COR 51 ~


Aryballos from ? (1972 or earlier). Athens, P. & A. Canellopoulos Mus. 1319.

Scene: Horseman with spear riding to l., his label (a) starting behind his head. He is attacked by a naked man on foot to l., from whose back starts (b).

Date: LC (Lorber); but c.620 (Schefold).


(a) Τροειλος > ToRÓ' E ILLŐS > Torol e illős! (He avenges accordingly!)

(b) Αβγδεϝζηηθικλμνοπϙρστυφψ:χε > A VéGeD É'VeZHeTő Ij KeLLeM NőBe' Ki ReST Ű Fő'BőSZű' : uGYE > A véged élvezhető, ily kellem nőben. Ki rest, ű fölbőszül : ugye? (Your end can be enjoyed, such enjoyable feeling is in woman. Who is lazy, he gets angry, ain’t you?)


Wachter's interpretation: Achilleus and Troilos (label). Abecedarium (also label?).

Achilleus is spelling out the abecedarium to confuse his opponent, isn't it? Come on, Mr. Wachter! The picture and the corresponding text is an excellent mnemonic tool to memorise the alphabet! - as the alternative reading of (a) rightly states it:

Τροειλος > TáRÓ' E ÜLŐ SZó > Tárol e ülő szó! (This easy settling word stores!)


~ @ COR 53 ~


Skyphos from Eretria, by the Eurymachos P. (see Amyx) (1898 or earlier). Brussels, Mus. Royaux A 1011.

Scene: Three naked warriors standing in a group, (a) to r., (b) to r. looking back, (c) to l.; they are flanked by two horsemen (unnamed).

Date: LC (Lorber); c.570–550 (LIMC).


(a) Δαι[.. 3–4 ..]ος > Δαι[οκμζ]ος > oDa A J[Ó KoMáZ]ÓS > Oda a j[ó komáz]ós. (The good fraternising (komast) is over.)

(b) Ευρυμαχος > E ÜRÜ MA GYŐZ > E ürü ma győz. (This wether/lamb is  winning today.)

(c) Προμαχος > BaROM A GYŐZő >  Barom a győző! (Cattle is the winner!)


Wachter's interpretation: Preparation for war (waiting for marching orders?), probably non-heroic (labels).

On the contrary! The losers are licking their wounds.


~ @ COR 54 ~


Skyphos from Corinth by the Eurymachos P. (see Amyx) (1880). Berlin, Antikensammlung F 967.

Scene: Two warriors fighting (one named, the other not). Date: LC (Lorber).


Πολυλαιδας > BÖLLÜLő AJJaDÁS > Böllülő (ingerkedő/perlekedő) aljadás. (The provoking/quarrelling descend.)


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


~ @ COR 57 ~


Pyxis from ?, painted by Chares (1859 or earlier, see de Witte). Paris, Louvre E 609 (CA 298).

Scene: Two men running behind five horsemen, all to r., and three horsemen to l. approaching. ... the figures and their names (now partly illegible) are, from left to right, as follows. The two running men are unnamed; the first horseman is (a) Palamedes, whose horse has no name; the second is (b) Nestor, whose horse does not have a name either; the third is (c) Protesilaos, sitting on (d) Podargos; the fourth is (e) Patroklos on ( f ) Balios; the fifth is (g) Achilleus on (h) Xanthos, facing ( j) Hektor on (i) Orion; the second horseman facing left is (k) Memnon on (l) Aithon; the last man has no name, and where his horse’s name should be, the artist Chares put his signature (m).

Date: LC (Lorber); 3rd q. 7th cent. (LIMC i); c.550 (LIMC vi); c.570 (LIMC vii, ‘Palamedes’); c.575–50 (LIMC vii, ‘Nestor’).


As it has became the rule by now, the “names” are bubble inscriptions spoken by the actor(s), but because horses usually do not talk, here we have a top row and a bottom row of bubbles sequentially:


top row:

(a) (Παλαμεδες) > aBÁL A MÉD ESZé- > abál (kéjeng) a méd eszé- (on the Med's mind ravels)

(b) (Νεστορ) > -N E SZóTÖRő > -n e szótörő (szószegő) (the defaulter)

(c) Προτε[si]λας > Προτε[σα]λας > BáR ŐT E [SZÁ]LAS > bár őt e [szá]las (although him this tall)

(e) Πατροκλος > BÁToR ÖKLÖS > bátor öklös (courageous boxer)

(g) Αχιλλευς > A GYŰLöLő E'ViSZi > a gyűlölő elviszi (the spiteful takes him away)

( j) Εκτορ > E KiTÖR > e kitör (this will break out)

(k) Μεμν[ον] > íMe E'MéN > íme elmén (look he is going away)


bottom row:

(d) Ποδαργος > BÓDÁR GŐZ > bódár (bódító) gőz (overpowering steam)

( f ) Βαλιος > BALJÓS > baljós (ominous)

(h) Ξσανθος > KöZe SZÁNTYa ŐS > köze (közönye) szántja ős (its indifference ploughs it ancestor)

(i) Οριϝον > ŐRJe VONi > őrje (őrülete) voni (its madness dregs it)

(l) (Αεθον) > (Δεϙον) > DE KÖNY > de köny(v) (but the book)

(m)   Χαρεσμεγραψε > aGYÁRa ESZe MEG RÁ BeSZE/BőSZE > agyára esze meg rá besze/bősze (on his brain and the mind on himself talkative/furious)


Abál (kéjeng) a méd eszé-n e szótörő (szószegő), bár őt e szálas, bátor öklös, a gyűlölő elviszi, e kitör. Íme, elmén. Bódár (bódító) gőz baljós köze (közönye) szántja, ős őrje (őrülete) voni, de köny(v) agyára, esze meg rá besze/bősze. (The defaulter ravels on the Med's mind, although this tall, courageous boxer, the spiteful takes him away, he will break out. Look, he is going away. The ominous indifference of the overpowering steam (from spirits) ploughs him, the madness of his ancestry dregs him, but the book on his brain and his mind on oneself is talkative/furious.)


R. Wachter's interpretation: (a)–(l) Unspecified riding scene with characters from the Trojan Cycle (labels). (m) Painter’s signature.


~ @ COR 58 ~


Olpe from ?, near the Lotus-Cross P. (see Amyx) (1977 or earlier). Mainz (Private)

Scene: Two young riders to l., (a) and (b). Date: LC I (i.e. 570–550) (Amyx).


Νιϙον Αντι > NI KONYa ANNYiT Ű' > Ni, konya annyit ül. (Look, look it bends down from the long sitting.)


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


~ @ COR 59 ~


Oinochoe from Caere (1835: see Gerhard, n. 8); lost. Formerly Rome, Alibrandi Coll., and Rome, Market.

Scene: Three groups of three warriors running to l., the names are behind the third (a), in front of the fourth’s face (b), and behind the last (c). Date: LC (Lorber); c.570–550 (LIMC iii, ‘Charon’).


(a) Διον > iDe JÖN > ide jön (here comes)

(b) Χαρον > GYÁRÓ Nő > gyáró nő (walking woman)

(c) Ϝιον > VaJON > vajon (whether)


Ide jön gyáró nő vajon? (One wonders whether walking woman comes here at al?)


Wachter's interpretation: Nine warriors running, non-heroic (labels).


~ @ COR 60 ~


Globular oinochoe from Caere (1834: see MusEtrGreg, ii. 1). Rome, Vatican, Mus. Gregoriano Etrusco 16. 439.

Scene: A warrior (a) tries to stab another (b), who is almost on his knees and trying to get away but looking back at his opponent. From the r. comes help (c).

Date: shortly before mid-6th cent. (Simon); c.570 (Schefold; LIMC i, ‘Aias’); LC

(Lorber; Amyx, p. 636, no. 6); c.570–560 (LIMC i, ‘Aineias’).


(a) Αιϝας > ÁJJa VAS > állja vas (the steel will stand)

(b) Ηεϙτορ > Ha E'KoTOR > ha elkotor (if you clear off)

(c) Αινεας > ÁJJoN-E A SZó > álljon-e a szó (but should the word stand)


Állja vas ha elkotor. Álljon-e a szó? (The steel will stand if you clear off. But should the word stand?)


Wachter's interpretation: Aias about to vanquish Hektor (labels).


~ @ COR 61 ~


Column krater from Caere, by the Hippolytos P. (see Amyx) (ex Campana inv. 35; 1857 or earlier). Paris, Louvre E 636.

Scene: Two warriors fighting, flanked by their pages, who are waiting with the horses. Between them there is the dead body of a youth (named), with his head to the l.

Date: LC (Lorber); c.570–550 (LIMC).


Ηιππολυτος > HIBáBÓ' öL UTÓS > Hibából öl utós (utólag). (By mistake he kills afterwards.)


Wachter's interpretation: Fight over the body of a dead warrior, probably non-heroic (label).


~ @ COR 62 ~


Amphora from Caere, near the Hippolytos P. (see Amyx) (ex Campana inv. 9; 1857 or earlier). Paris, Louvre E 645.

Scene: A youth (named) with spear on a white horse, an eagle flying behind him.

Date: LC (Lorber); 570–550 (LIMC).


Πολυδος > PÖLe/BOLYó Ű'DÖZő > Pöle/bolyó üldöző. (Dormouse/silly chaser (the dormouse chaser eagle also chases the silly boy).)


Wachter's interpretation: Non-heroic riding scene (label).


~ @ COR 63 ~


Amphora from Caere, near the Hippolytos P. (see Amyx) (1864 or earlier). Vienna, Kunsthistorisches Mus. IV 3546.

Scene: A youth (named) with spear on a white horse, an eagle flying behind him. Date: LC (Lorber).


Ϝαχυς > VÁGY ŰZi > Vágy űzi. (His/its desire drives him/it.)


Wachter's interpretation: Non-heroic riding scene (label).


Mihaly Mellar

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The Scythian language resurrects as Scythic-Hun-Magyar.


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The Scythian language resurrects as Scythic-Hun-Magyar.


Making Sense

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

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

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



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és a betlehemi csillag

A könyv a múlt és a jelen sérthetetlen dogmáit kérdőjelezi meg, fájdalmas sebeket szakitva fel a társadalmi közérzeten, mind a hétköznapokra, a tudományos életre és a hit világára vonatkoztatva. Megtalálta a valódi betlehemi csillagot, szó lesz a történelmi, a pártus Jézusról, a valós keresztrefeszítéséről és egy szörnyű végű összeesküvésről, aminek egyik következménye a téves időszámításunk és a kronológiánk sötét középkora. Talán nem is véltetlen, hogy most íródott meg a könyv - írja - ismét az útkeresés korában járunk. Létezésünk és hitvilágunk alapjai esnek szét, új kérdések jönnek, új válaszok kellenek. Ezek alapjait érinti meg ez az írás, új szemléletet adva eddig érinthetetlennek gondolt tabuknak.

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