Common sense in nonsense inscrip
from AVI numbers
3000 to 3999
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 (https://avi.unibas.ch/home.html).
Where it could be identified, there the inscription’s Beazely Archive Database
(BAD:
http://www.beazley.ox.ac.uk/XDB/ASP/
) 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.
EPIGRAPHIC SYMBOLS
<>: 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.unibas.ch/abbrBooks.html
AVI 3001; BAD 330737
Buffalo, Albright-Knox Art Gallery
33.135 (G 479). BF/WG lekythos. From Gela. Athena Painter. Early fifth century.
History: Ex Hirsch collection.
Decoration: Athena (flanked
by cocks) and two trainers or officers of the Panathenaic Games.
Inscriptions: Nonsense:
between the heads of Athena and the left trainer: (σ)ογο. To his right: ιεποσ.
To right of Athena's head: λο(.). Below, to left of the right trainer:
ελοιποσ{1}.
Commentary:
Shapiro mentions the ‘ιεροποιοι’ reading of Bieber’s and refers to DAA.
[Readings from the photo in Shapiro differ: between the heads: looks more like:
hοσο. To Athena’s left: ιενοσ. Rather than ιεποσ. To Athena’s right:
λο(.)^εγοιλο(.). These readings are not certain either as the letters are in
part distorted.] Clearly just nonsense.
Footnotes:
{1} Bieber assumes that the second and fourth inscriptions are near-sense: ιεπον
(sic) for ιερον and ο.εροιποσ for ιεροποιος. The photo in AJA does not show the
initial omicron; the second letter does not look like a rho, but it could be
incomplete. Bieber also reads the first and third inscriptions together:
νογο-υον.
Bibliography:
Haspels (1936), 256/34. — *Bieber (1944), 121 ff., fig. 2a-b. — ABV (1956),
522/34. — Shapiro (1989), 35-36, pl. 15,a. — *Neils (1992a), 183/55 (bibl.) and
17; ill. p. 18 (all) and p. 182 (part).
Author: H.R.I. Internal ID: 3155
(σ)ογο >
SZÓ éGŐ > szó égő (the
word is burning)
ιεποσ >
iLY E BŐSZ > ily e bősz
(such is this angry man)
λο(.) ελοιποσ >
LOHo' ELő' OLY BŐSZ > lohol
elől oly bősz (he is running in front so ferocious)
SZó égő, ily e bősz. Lohol elől, oly bősz . (The
word is burning, such is this angry man. He is running in front so ferocious.)
AVI 3008; BAD 204353
Cambridge, Corpus Christi College.
RF cup. Foundry Painter. Euphronios, potter (Blösch). First quarter fifth
490-480

Decoration: Symposium: Int.:
man reclining and playing the flutes; boy dancing. A: four bearded men on
couches. B: similar to A, but with a female flautist.
Inscriptions: B: above the
heads: nonsense: (.) v. υν ον(ν)νμν. ννγν{1}.
Commentary:
After the drs. in JHS. One nu reversed.
Footnotes:
{1} "On the background, the usual inscriptions, with mu, upsilon, sigma."
(Beazley (1989)).
Bibliography:
*Bicknell (1921), 223/2; 224, pls. 15-16. — ARV[2] (1963), 402/12, 1651. — Para.
(1971), 370. — Add.[2] (1989), 231. — Beazley (1989), 81, pls. 54-55.
Author: H.R.I. Internal ID: 3162
(.) v. υν
ον(ν)νμν ννγν > ε υν
ονσνμν ννγν*
> E ÜNŐ NáSZáN MáN NőNe iGéNY >
E ünő nászán mán nőne igény. (On
this fawn's nuptials the demand would grow already.)
* The reversed nu is actually a
sigma.
AVI 3018; BAD 12744
Cambridge, Fitzwilliam Museum 66.
BF lip cup. From Vulci. Unattributed. Third quarter sixth 550-530

Decoration: Handle zone: A,
B, each: two cocks fighting.
Inscriptions: On either side
of the figures: nonsense: A: χο(ν)ορεοσ and χ(ν)ο(ν)σ(ν)ε. B: χ(ν)ϝ(ν)εο(ν) and
>(ν)(ε)οε(ν)(.)(ν)ε(.){1}.
Commentary:
The inscriptions on A are clearer than those on B. Epsilons shaped like U-shaped
digammas. D-shaped rho. Chi = upright crosses.
Footnotes:
{1} the last inscription very unclear: hasty imitation letters.
Bibliography:
Gardner (1897), pl. XXII. — *W. Lamb, CVA Cambridge 1, Great Britain 6 (1930),
III H, pl. 194.
Author: H.R.I. Internal ID: 3173
A: χο(ν)ορεοσ >
íGY Ő NŐRE OS(oN) > Így ő
nőre os(on). (It sneaks this way after a hen/woman.)
χ(ν)ο(ν)σ(ν)ε >
íGY NŐN eSSeN E' > Így nőn
essen el! (Let it fall this way on a hen/woman!)
B: χ(ν)ϝ(ν)εο(ν) >
íGY NŐ ViNNE ÖNNi > Így nő
vinne önni. (This way a woman would take it to eat.)
>(ν)(ε)οε(ν)(.)(ν)ε(.) > {Λ
DőL}*(ν)(ε)οε(ν)(.)(ν)ε(.) >
LeDőLNE Ő E NŐNEK > Ledőlne ő
e nőnek. (It would lay down to this woman.)
* Λ
tilts over! = ΛΔΛ
AVI 3043; BAD 201128
Cambridge, Fitzwilliam Museum
37.19. RF cup. Unattributed; wider Circle of Nikosthenes Painter. Last quarter
sixth
History: Ex Ricketts and Shannon.
Decoration: Int.: a bearded
komast. A: symposium of four youths. B: fight of five figures.
Inscriptions: Nonsense:
Int.: around the komast, along the margin: σγπσγ(σ)ϝλεσ(ε)ασϝσπυ{1}. A: at leat
six nonsense inscriptions. B: on the left shield: (.)γΙΙδπν, retr., and another
inscription of four letters. On the shield of the central youth: circle with dot
(Θ?) and five letters. On the right man's shield, quasi-kion.: λπποε̣υ, and: λε.
In addition, at least six nonsense inscriptions in the field. The inscriptions
on the shield are in BG.
Commentary:
The digammas could be epsilons.
Footnotes:
{1} the bracketed epsilon is written sideways and has a double main stroke.
Bibliography:
*Photo. — *W. Lamb, CVA Cambridge 2, Great Britain 11 (1936), Ricketts and
Shannon, pls. 7,2, 8,6 and 9,5. — ARV[2] (1963), 135/13.
Author: H.R.I. Internal ID: 3198
Int.: σγπσγ(σ)ϝλεσ(ε)ασϝσπυ >
SeGG BőSéGeS VeLE SE A SZíVóS éPŰ' >
Segg bőséges, vele se a szívós épül. (Arse
is plenty, not the leathery/persistent builds with it either.)
B: (.)γΙΙδπν > (.)γ{KéT}δπν
> ÉG Ke'T iDőBeN > Ég kelt
időben! (Heaven will wake you on time!)
λπποε̣υ λε > λπποϝυ
λε > LaP áPO' VíVe öL É' >
Lap ápol víve, öl él! (Its flat nurses you by
carrying you, its edge kills!)
AVI 3044; BAD 204449
Cambridge, Fitzwilliam Museum
37.23. RF Nolan amphora Briseis Painter. First quarter fifth Ca. 480 (CVA).

Decoration: A: Zeus pursuing
Ganymede. B: Bald man with a staff.
Inscriptions: A: to left of
Ganymede's body: nonsense: γλιοσκγιο.
Commentary:
Beazley in JHS wrongly read: λυιοσ καλος; he rejected the earlier reading
Alkaios. Nonsense typical of the Briseis Painter; see AttScr (1990), 89 and n.
38.
Footnotes:
{1} Serbeti reads: γυιοσκαι ο. Gerhard had read: Αλκαιος καλος. My reading is
probably the right one.
Bibliography:
Beazley (1914), 194, n. 13. — *W. Lamb, CVA Cambridge 2, Great Britain 11
(1936), Ricketts and Shannon, pls. 11,1, 17,3,6,8. — ARV[2] (1963), 409/51. —
Add.[2] (1989), 233. — *Serbeti (1989), 40. — AttScr (1990), no. 556.
Author: H.R.I. Internal ID: 3199
γλιοσκγιο >
γλιοσκαιο{1}
> éGGeL JÓS oKKA' JÓ > Éggel
jós okkal jó! (Prophet is with reason good with/to
heaven!)
AVI 3051; BAD 12834
Cambridge, Fitzwilliam Museum N
137. Fr. of RF cup. From Naukratis. Unattributed (?){1}. Ca. 500
Decoration: Int.: back view
of a nude soldier crouching; the shield drawn in perspective.
Inscriptions: Int.:
nonsense: on the shield, along the lower margin, widely spaced: υευγ.
Footnotes:
{1} In CF Beazley attributed the fr. to the Pithos Group, but it is not in
ARV[2] or Para. But it seems clearly related.
Bibliography:
CF (1933), 27. — *W. Lamb, CVA Cambridge 2, Great Britain 11 (1936), pl. 27,9.
Author: H.R.I. Internal ID: 3206
υευγ >
eVVE' VéGe > Evvel vége!
(This is the end!)
AVI 3093; BAD 14227
Capua, Museo provinciale campano
inv. 7556. BF amphora. From Capua. Unattributed{1}. Last quarter sixth

Decoration: A: Heracles and
the Amazons: Amazon; Heracles attacking; a fallen Amazon. B: Dionysus on a mule,
between two satyrs (the right-hand one holds a wineskin).
Inscriptions: A: to right of
the fallen Amazon's mouth: (φ)ιλτε, retr.
Commentary: =
Capua 366. = Patroni 3. - The first letter could be phi or theta. The
inscription looks more like a miswritten text or a name than a nonsense
inscription. Φιλτη is listed as a name in Pape and LGPN ii. Or imploring
Heracles: φιλτ<ατ>ε?
Footnotes:
{1} somewhat related to Antimenes Painter, Mingazzini.
Bibliography:
BADB: 14227. — *Photo. — Patroni (1897–8), no. 3, pl. 1. — *P. Mingazzini, CVA
Capua 2, Italy 23 (1954), III H, pls. 1,1-2 and 3,2.
Author: H.R.I. Internal ID: 3249
(φ)ιλτε >
iFI éLeT E > Ifi, élet e?
(Young man, is this life?)
AVI 3100; BAD 366
Unlocated. BF lekythos. Athena
Painter. Early fifth (CVA).
History: Once Castle Ashby,
Private: Northampton.
Decoration: Fight of two
warriors; at left, warrior moving away.
Inscriptions: Nonsense:
between the warrior at left and the left contestant: σταοσε̣, retr.{1}. Between
the contestants' helmets: στχc^p{1}.
Commentary:
Small in ph., pl. 23,3.
Footnotes:
{1} so the text in CVA. In the first inscription the first sigma is given as
reversed three-stroke sigma, the second as regular three-stroke. In the second
inscription, sigma is regular three stroke, chi is upright; the fourth letter is
given as a Roman C (it is probably an omicron), and the last letter as a Roman
P; a spear intervenes before the last letter.
Bibliography:
*J. Boardman and M. Robertson, CVA Northampton, Castle Ashby, Great Britain 15
(1979), Castle Ashby (1979), no. 27, pl. 23,5-7 (no bibl.).
Author: H.R.I. Internal ID: 3256
σταοσε̣ >
SéTÁ' ŐS E' > Sétál ős el.
(The old man walks away.)
στχc^p > στχο^ρ
> SéTa aGY ŐRe > Séta agy
őre! (Walking is the guardian of the brain!)
AVI 3101; BAD 19354
Catania, Museo archeologico. BF LM
[[lip]] cup. From Catania, Sanctuary of Demeter. Unattributed. Third quarter
sixth
Decoration: Int.: two
rampant goats facing. Ext.: ?
Inscriptions: Int.: to
goats' left, facing out: αγριος or Αγριος (a proper name? On the Tyrrhenian
amphora in Cerveteri, AVI 3126, it is a satyr name). To the goats' right,
similar but facing in and crowded: [...]αδε(?) vacat. [[and "all' esterno si
legge χαιρε και πιει ευ", not ill.; however, two more inscribed frs. of lip cups
are shown on fig. 7, one probably with nonsense inscr., both sm. and illeg.]]
Commentary:
Since C. does not mention the inscription on the right, I am unsure of the
reading. She cites the vase for the inscription on the left, claiming that the
goat is a wild animal that devours cultivated plants. I wonder if the word
refers to the goat at all. Are the goats male?
Bibliography:
Rizza (1960), 249, [[ph. 251]] fig. 7 [[cl.]]. — *Cerchiai (1988), 235-36, fig.
57,2.
Author: H.R.I. Internal ID: 3257
αγριος > AGGóRa JÓ SZó >
Aggóra jó szó. (Word
good for the concerned.)
AVI 3134; BAD 9017595
Chapel Hill, University of North
Carolina Ackland Art Museum 77.6.2. Fragmentary BF lip cup. Unattributed. Third
quarter sixth
Decoration: Lip: A: two
panthers facing.
Inscriptions: Handle zone:
A: nonsense: imitation letters in a somewhat wavy line: (.)σγ(ρ)γιγ(.)σ{1}.
Commentary:
Small casual letters. Triangular rho.
Footnotes:
{1} not clear if complete fore.
Bibliography:
*Photo.
Author: H.R.I. Internal ID: 3305
(.)σγ(ρ)γιγ(.)σ >
BőSéG öReG ÍGéRéS > Bőség öreg ígérés. (Plenty
is an old promise.)
AVI 3180; BAD 6700
Christchurch, N.Z., University of
Canterbury, Classics Department, James Logie Memorial collection 34/55. BF lip
cup. From Orvieto. Unattributed. Third quarter sixth

Decoration: Int.: a BG
circle in a reserved tondo. Lip: A: lion and bull, facing. B: similar, but the
lion puts his paw on the bull's head.
Inscriptions: Handle zone:
nonsense: A: σ(.)πhτ(γ)(π)υγο vac. B: σενσ ν α χ ν (.).
Commentary:
Logie collection.
Bibliography:
*Photos in Beazley Archive. — J. Green, CVA New Zealand 1 (1979), pl. 28,1-4.
Author: H.R.I. Internal ID: 3351
A: σ(.)πhτ(γ)(π)υγο >
SiLáP Ha TáG BUGa Ó > Siláp
ha tág buga ó. (Cudgel, if it is a wide horn
it protekts.)
B: σενσ ν α χ ν (.) >
eSZÉN iS N A GY NŐ >
Eszén is n a gy
nő! (On its brain
also b i g grows!)
AVI 3199; BAD 211381
Cleveland, Museum of Art 24.537.
Fr. of RF cup. Manner of Pistoxenos Painter (?) (Beazley). Second quarter fifth
470-460 (Oakley).
Decoration: Cleveland fr.:
upper part of a bearded man (Nereus?); upper part of a Nereid looking and
gesturing to left while holding a dolphin.
Inscriptions: Cleveland fr.:
below the margin, interrupted by the heads: (κ)[.]^λ(ο)(.)(ν)^αιχι^.
Commentary: +
The Hague OC 125-34. - The inscription may be nonsense, but in view of the
letters αιχι, it is probably part of a hastily written [hο παις] καλος, ναιχι.
Disjointed letters.
Bibliography:
ARV[2] (1963), 864. — *C.G. Boulter, CVA Cleveland 1, USA 15 (1971), pl. 39,1;
p. 25, fig. 11 (facs.). — Hemelrijk (1973), 176-77, figs. 1-5 (Hague fr.). —
Add.[2] (1989), 299.
Author: H.R.I. Internal ID: 3370
(κ)[.]^λ(ο)(.)(ν)^αιχι^ > KiÁLLÓSaN Á' ÍGY Ű >
Kiállósan áll így ű! (Outstandingly
stands he this way!)
AVI 3201; BAD 761
Cleveland, Museum of Art 27.145. BF
loutrophoros. Unattributed. Ca. 500 (Boulter).
Decoration: Neck: A, B,
each: two women mourning. Body: A: a dead woman on the bier, with six women
mourners. B: three male mourners.
Inscriptions: Body: nonsense
(mock inscriptions): to right of the third mourner's face: οιυλτ{1}. To right of
of the fourth mourner's head (although she faces left): ουτοσοσο. Above the head
of the dead: ου{2}.
Commentary: The words faintly
recall οιμοι.
Footnotes: {1} this could be two
inscriptions, for two mourners: οιυ and λτ. {2} lambda's and upsilon's are
indistinguishable in these inscriptions. - Mommsen wrongly says in n. 189 that
there are dots instead of letters on this vase.
Bibliography: Howard (1927), 101
(ill. p. 98); (1928), 46. — [[deleted]]. — Zschietzschmann (1928), no. 61. —
*C.G. Boulter, CVA Cleveland 1, USA 15 (1971), pls. 15-16; p. 12, fig. 3 (facs.).
— H. Mommsen (1997a), 23 n. 189, 70/51.
Author: H.R.I. Internal ID: 3372
οιυλτ > οιλ
λτ{1+2} > Ő JóL éLT >
Ő jól élt. (She had a good life.)
ουτοσοσο ου >
Ó UTO'SÓ SZÓ ÖVé > Ó, utolsó
szó övé! (Oh, the last word is hers!)
AVI 3202; BAD 207549
Cleveland, Museum of Art 28.660. RF
lekythos. From Italy. Oionokles Painter. Second quarter fifth 480-470 (Boulter).

Decoration: Warrior cutting
off a lock of hair with his sword and placing his armor on a stool.
Inscriptions: Nonsense: on
his left, not facing him: υγιοσ εγυ. To right of the stool and an upright spear,
which is to right of his face: γυιοσεγυ{1}.
Commentary:
Small neat letters. CVA's facs. is not quite accurate. The inscriptions are
identical except that the first two letters are upside down in comparison with
the other. The style of writing does not suit the Oionokles Painter: was there
perhaps contamination of inscriptions in this workshop? For parallels to the
inscriptions see CB ii (on Boston 01.8028, by the Briseis Painter): the
similarity of inscriptions shows that the Oionokles, Briseis, and the Painter of
Louvre G 265 worked in the same workshop at one time. For the subject Beazley
refers to his `Kleophr.' 28 and to Haspels (1936), 73-74.
Footnotes: {1}
Serbeti's readings differ: λγιοσεγ(α). [Alpha upside down]. γυιοσεαυ. She has a
list of these inscriptions and discusses the question of literacy.
Bibliography: CB
(1931–63), ii, 40 (mention). — Beazley (1933), 28/on 79. — Haspels (1936),
73-74. — ARV[2] (1963), 648/37. — *C.G. Boulter, CVA Cleveland 1, USA 15 (1971),
pl. 31; p. 20 (facs.). — Add.[2] (1989), 275 (much bibl.). — *Serbeti (1989),
40.
Author: H.R.I. Internal ID: 3373
υγιοσ εγυ > ÜGe JÓS ÉGiVe' >
Üge jós égivel. (The
word is oracle with heavenly.)
γυιοσεγυ > éGiVe' JÓ SEGé'Ve >
Égivel jó segélve. (Good
to be aided by the heavenly.)
AVI 3217; BAD 201758
Compiègne, Musée d’art et
d’archéologie Antoine Vivenel 1068. RF psykter. From Vulci{1}. Kleophrades
Painter. Ca. 500 Very early (Beazley).
Decoration: Heracles and
Dionysus, in front of a platform running around the whole scene; on the
platform, satyrs; in front of the platform, kraters and a kantharos (the latter
is between Heracles and Dionysus).
Inscriptions: Nonsense:
ιολελε ιαλινιυνε λυν. ισυπ.υλις{2}. Under the foot, Gr.: ligature ΚΛ [[lig.]].
See Johnston (1979), 110/12C 3 and comm., p. 202.
Commentary:
Attributed by Richter and accepted by Beazley; earlier attributions are: Oltos (Hartwig
(1893), 80 n. 4) and, doubtfully, Euthymides by Beazley (VA (1918), 32 n. 1).
Johnston doubts the ligature stands for the potter Kleophrades. There is
discussion of the scene in the Rouen cat., where the reference to a satyr play
is rejected. - Drougou mentions and illustrates the Mercantile Gr., citing on p.
48 as parallels Vatican 415 (ABV 343) and the RF pelike Copenhagen 149 by the
Kleophrades Ptr. (ARV[2] 184/27). She cites Webster (1972), 31 for the opinion
that the Gr., KL, may stand for the potter's name. [See now Johnston.] D. does
not mention the nonsense inscriptions.
Footnotes:
{1} so ARV[2]; CVA says from Cavalupo, Canino. {2} so CVA, index, apparently
treating the letters as two inscriptions [they probably need to be broken up].
The text has: ιολεγειαλιυιλυνελυν..ισυρ..υλισ in capital letters.
Bibliography:
*M. Flot, CVA Compiègne, France 3 (1924), III I c, pls. 13,7-8, 15,4, 16 (old
bibl.). — ARV[2] (1963), 188/66. — Drougou (1975), 17/25, *48, 63-64, pl. 15,1-2
(includes facs. of Gr.). — Rouen Musée Dép. (1982), 54/7 and 256/106. — Add.[2]
(1989), 188.
Author: H.R.I. Internal ID: 3389
As you can see, the text has two
different transcriptions, done by researchers not speaking the
Scythian/Hun/Hungarian language. The inscriptions should be looked at again, now
with the “hindsight” knowledge of the “nonsensical” language the text are
written in. To help this here is the more probable reading, the most suited to
the context of the depicted scene:
ιολεγειαλιυιυνελυν[π]ισυρ[ικ]υλισ
> JÓ LÉGELY ÁLL INNI VaN-E Lé VaN [B]IZ ÚR[I Ki]VáLó IS
> Jó légely (kis
hordószerű csobolyó) áll, inni van-e lé? Van biz,
úri kiváló is! (The good canteen/flask stands, is
there juice to drink? Yes, there is, furthermore some excellent gentlemanly.)
AVI 3226; BAD 10668
Copenhagen, National Museum 87. BF
lekythos. From Sicily. Sappho Painter (Haspels). Ca. 500 (?)

Decoration: Ajax pursuing
Cassandra; altar; statue of Athena; warrior.
Inscriptions: To right of
Ajax' beard: Αιας̣. Nonsense: between Ajax' and Cassandra's legs: ασ{1}. Above
the altar: σ. Behind Athena's head: δ v. χιι{2}. To right of her lower garment:
ασ/αυ.
Footnotes:
{1} complete. {2} A·ΧΙΙ, CVA, text.
Bibliography:
*C. Blinkenberg and K. Friis Johansen, CVA Copenhagen 3, Denmark 3 (1928), pl.
111,1. — Haspels (1936), 225/1.
Author: H.R.I. Internal ID: 3398
Αιας̣ > ALJAS >
aljas (dirty
rascal)
ασ σ > A SZó SZó' >
a szó szól (the
word (name)
speaks)
δ v. χιι ασ/αυ > δ χ{KéT}
ασ/αυ > De íGY KöT A SZaVa >
de így köt a szava (but its word
ties like this)
Aljas,
- a szó szól, de így köt a szava. (Dirty rascal, -
the word
(name)
speaks, but its word ties like this.)
„f.
No sooner had the massacre begun in Troy than Cassandra fled to the temple of
Athene and clutched the wooden image which had replaced the stolen Palladium.
There Little Ajax found her and tried to drag her away, but she embraced the
image so tightly that he had to take it with him when he carried her off into
concubinage; which was the common fate of all Trojan women.”
(R. Graves: The Greek Myths, 168.f.)
AVI 3245a; BAD 201640
Copenhagen, National Museum 3836.
RF column krater. From Orvieto. Myson. First quarter fifth

Decoration: A: a satyr to
right, looking back, carrying a drinking horn and a wreathed volute krater. B: a
nude young komast walking to right, holding a skyphos and a wineskin.
Inscriptions: A: on the
krater's body, vertically down in the center: λο^(σ)ο(.){1}.
Commentary:
The inscription is very faint; I may have misread it. Lissarrague gives the
number as Copenhagen MN 3836.
Footnotes:
{1} this looks like καλος miswritten rather than real nonsense. The last letter
is a `quotation mark'.
Bibliography:
C. Blinkenberg and K. Friis Johansen, CVA Copenhagen 3, Denmark 3 (1928), pl.
126,2. — ARV[2] (1963), 241/48. — *Bérard et al. (1984), figs. 168-69 (A, B). —
Add.[2] (1989), 201. — *Lissarrague (1990b), 202, pl. 21a-b (B, A).
Author: H.R.I. Internal ID: 3418
λο^(σ)ο(.) >
öLŐ SZŐLő > Ölő szőlő!
(The killing grape!)
AVI 3247; BAD 203934
Copenhagen, National Museum inv.
3880. RF cup. From Italy. Dokimasia Painter{1}. Brygos, potter. Early fifth

Decoration: Int.: a bearded
symposiast on a couch, about to vomit into a krater, a nude youth assisting him.
Ext.: komos. A: column; two youths and two men (one playing the lyre, the other
singing). B: two men; flautist; lyre player singing; man.
Inscriptions: Nonsense:
Int.: above the figures, curving: γοιτ. On the krater, in BG: συνυ(π){2}. A:
above scene: ιοσν{2}. B: above scene: three letters{3}.
Commentary:
The pi perhaps lacking the third stroke, which is a Brygan characteristic.
Footnotes:
{1} attributed in ARV[2], p. 373, to the Brygos Painter, with the remark that it
might be by the Dokimasia Painter; in Para. 366 and 372 definitely given to the
Dokimasia Painter. {2} not mentioned in CVA. {3} these inscriptions, mentioned
in text of CVA, are not visible in the photos.
Bibliography:
*Photo. — *C. Blinkenberg and K. Friis Johansen, CVA Copenhagen 3, Denmark 3
(1928), pls. 141-42. — ARV[2] (1963), 373/36, 1649. — Para. (1971), 366, 372/11
ter. — Add.[2] (1989), 225.
Author: H.R.I. Internal ID: 3420
Int.: γοιτ συνυ(π) > γολτ
συνυ(π) > éG OLTi SaVó NeVéBe' >
Ég olti savó nevében. (Heaven
suppresses heartburn in the name of stomach acid.)
A:
ιοσν > ιοζν >
JÓZaN/JÓ ZeNe > Józan/jó zene.
(Sober/good music.)

AVI 3248; BAD 10666
Copenhagen, National Museum inv.
4707. Lekythos in Six' technique. From Boeotia. Unattributed. Early fifth
Decoration: Man with a stick
pursuing a woman.
Inscriptions: Nonsense: to
right of his face: hιοσ̣ττκ̣υ{1}. To left of, and alongside, the woman's body:
νοσολτι, retr.{2}.
Commentary:
This vase is stated to be Attic in CVA.
Footnotes:
{1} taken from the photo in CVA: the fourth letter perhaps an upsilon; the text
in CVA gives only hιοσττ. . {2} so the photo.; CVA's text gives ιτυοσον. .
Bibliography:
*C. Blinkenberg and K. Friis Johansen, CVA Copenhagen 4, Denmark 4 (1931), pl.
175,1.
Author: H.R.I. Internal ID: 3421
hιοσ̣ττκ̣υ >
Ha JÖSSZ TiTKo'Va > Ha jössz,
titkolva! (If you come, do it secretly!)
νοσολτι >
NŐS Ő LáTI > Nős ő, láti.
(He is married, she can see.)

AVI
3251; BAD 351299
Copenhagen, National Museum inv.
8385. BF oinochoe. From Italy. Unattributed; Class of London B 524. Second half
sixth
Decoration: Love-making:
youth lifting a woman; at left, youth looking on.
Inscriptions: Above the
heads in the center: six illegible letters{1}. Nonsense?
Footnotes:
{1} tentative reading: (λ)ιγλσα; the first letter an `Argive' lambda?
Bibliography:
*C. Blinkenberg and K. Friis Johansen, CVA Copenhagen 3, Denmark 3 (1928), pl.
123,1. — Para. (1971), 179/12.
Author: H.R.I. Internal ID: 3424
(λ)ιγλσα > öLIG LáSSA > Ölig
lássa! (Let him see to the lap!)
AVI 3270; BAD 213705
Copenhagen, Thorvaldsen Museum 101.
Fr. of RF bell krater. Group of Polygnotos. Third quarter fifth
Decoration: A: Amazonomachy:
parts of two Amazons are preserved.
Inscriptions: A: Αλλοτιμ(α).
Ευνομ<ο>ς. Πν[...].
Commentary:
The inscriptions taken from Bothmer's text, who considers them nonsense. I do
not know whether he has seen the vase or is taking the inscriptions from
Tischbein. They do not seem meaningless to me, but miswritten. Or nonsense
inscriptions misread by Tischbein?
Bibliography:
*Bothmer (1957), 196/115 (not ill.). — ARV[2] (1963), 1055/73.
Author: H.R.I. Internal ID: 3444
Αλλοτιμ(α) >
ÁLL eLŐTTe Ű MA > Áll előtte
ű ma. (S/he stands in front of him/her today.)
Ευνομ<ο>ς >
EVVe' NŐ MáS > Evvel nő más.
(With this woman is different.)
AVI 3283; BAD 28181
Corinth, Archaeological Museum
C-33-130. Fr. of BF lekythos. From Corinth, South Stoa{1}. Diosphos Painter (Haspels).
Early fifth
Decoration: Forward portions
of chariot horses trampling a warrior.
Inscriptions:
Nonsense: under the horses' heads: ιεhιχσ.
Footnotes:
{1} fill 1933-2, deposit in Shop XXXXII.
Bibliography:
Haspels (1936), 95 n. 2 and 232/9. — *Brownlee (1995), 353/190 (sketch of Dip.),
pl. 74.
Author: H.R.I. Internal ID: 3457
ιεhιχσ >
JE' Ha ÍGY SZó' > Jel ha így
szól... (Sign when sounds this way...)
AVI 3327; BAD 208066
Cracow, Czartoryski Museum 605. RF
lekythos. From Attica? Bowdoin Painter. Second quarter fifth
Decoration: Naked woman at a
laver.
Inscriptions: On the basin
of the laver, in BG: nonsense: ιτδπ{1}.
Footnotes:
{1} so CVA, text; the ph. shows some dots.
Bibliography:
*K. Bulas, CVA Cracow, Poland 2 (1935), pl. 10,5. — ARV[2] (1963), 682/113. —
Para. (1971), 406.
Author: H.R.I. Internal ID: 3502
ιτδπ >
ITT iDőBe' > Itt időben.
(Here on time.)
AVI 3328; BAD 350915
Cracow, Czartoryski Museum 1079. BF
band skyphos{1}. From Attica? Unattributed; Class of Rhodes 11941. Third quarter
sixth
Decoration: Handle zone: A:
a white pegasus galloping. B: similar, but mostly lost.
Inscriptions: Handle zone:
nonsense: mock inscriptions: A: to left of the pegasus: χαιετϝεκαι. To his
right, similar: χαιποιεσεν. B: χαι. No more is preserved.
Commentary:
Illiterate inscriptions: the first on A and that on B imitate a drinking
innscription, the second on A imitates a signature. Cf. similar inscriptions in
Munich, e.g. 2128, 2172, etc.
Footnotes:
{1} BF cup-kotyle (CVA).
Bibliography:
Beazley (1932), 202-203. — *K. Bulas, CVA Cracow, Poland 2 (1935), pl. 5,4 (A).
— Para. (1971), 88/5.
Author: H.R.I. Internal ID: 3503
χαιετϝεκαι > aDJA iLYET VÉKÁJa
> Adja ilyet vékája. (It
gives the like by bushels.)
χαιποιεσεν > χαιπολεσεν
> aDJ A JóBÓ'
öLESEN > Adj a jóból ölesen! (Give
me from the good by cords/fathoms!)
AVI 3329; BAD 13994
Cracow, Czartoryski Museum 1080.
Plain band cup. Unattributed. Third quarter sixth
Decoration: No figured
decoration.
Inscriptions: Nonsense: A:
νχνελπλνλκχνλν. B: νλνλχεχελπλχν{1}.
Footnotes:
{1} so the text, which may not be reliable; the ph. is too small to be readable.
Bibliography:
*K. Bulas, CVA Cracow, Poland 2 (1935), pl. 5,2 (no bibl.).
Author: H.R.I. Internal ID: 3504
A: νχνελπλνλκχνλν >
iNGYeNÉLő eBBőL NáLa KeGYeN éLNe >
Ingyenélő ebből nála kegyen élne. (At
him/her a parasite/sponger would live on good will out of this.)
B: νλνλχεχελπλχν >
NáLa Ne LeGYÉ' íGY ÉLőBőL GYaNú >
Nála ne legyél így élőből gyanú. (Don't
be to him/her suspected to be one who lives
that way.)
AVI 3330; BAD 204601
Cracow, Czartoryski Museum 1211. RF
cup. Painter of Paris Gigantomachy. First quarter fifth
Decoration: Int.: palaestra:
a young athlete with one hand in a laver; at right, a column with
superstructure. A: a youth leaning on his stick, between two jumpers; on either
side, a javelin. B: similar, but no javelins.
Inscriptions: Int.: on the
basin, in BG: nonsense: γοσκτε{1}.
Footnotes:
{1} so the text in CVA; not visible in the ph.
Bibliography:
*K. Bulas, CVA Cracow, Poland 2 (1935), pl. 9,2,a-b (Int., B). — ARV[2] (1963),
420/56. — Para. (1971), 374. — Add.[2] (1989), 235.
Author: H.R.I. Internal ID: 3505
γοσκτε >
éGŐ SiKiT E >
Égő! – sikit e. (It's
burning! - yells out this.)
AVI 3331 BAD 302372
Cracow, Czartoryski Museum 1245. BF
lekythos. Leagros Group. Late sixth

Decoration: Achilles
dragging the body of Hector: Achilles running like a hoplite; charioteer in the
chariot, dragging the body; Iris.
Inscriptions: Nonsense:
beside Achilles: ευσ. Under the horses, two inscriptions, one under the other:
πομεπσ and hετιει. Between Iris' legs: πομ{1}. To right of the charioteer's
head: τεροσ.
Commentary:
Taken from CVA, text.
Footnotes:
{1} Bulas thinks the prototype may have had πομπος.
Bibliography:
Beazley (1931d), 301. — *K. Bulas, CVA Cracow, Poland 2 (1935), pl. 2,a-b
(bibl.). — Haspels (1936), 196/3. — ABV (1956), 30/291. — Add.[2] (1989), 100.
Author: H.R.I. Internal ID: 3506
ευσ > É'V iS >
élv is (pleasure
is also )
πομεπσ > BŐ ME' BőSZ >
bő me(rt)
bősz (great because he is grim)
hετιει > HE'TÜ'-E Ű >
hejtül-e ű (is
he loosing his mind?)
πομ > BOMo' >
bomol (he's
getting soft-headed)
τεροσ > íTE ROSSZ >
íte rossz (his
judgement is bad)
Élv is bő me(rt)
bősz. Hejtül*-e ű?
Bomol, íte rossz. (Pleasure is
also great because he is grim. Is he loosing his mind? He's getting soft-headed,
his judgement is bad.)
* „HEJT,
(hë-it) fn. tt. hejt-ot. A Góry-codexben, Katalin legendájában stb. ugyanaz, ami
a Bécsi és Tatrosi codexben heit, azaz esztelen.” CzF
AVI 3349; BAD 302338
Delos, Archaeological Museum 546.
BF lekythos. From Delos. Leagros Group. Last quarter sixth 510-500
Decoration: Dragging of
Hector's body.
Inscriptions: Above the
body, nonsense: h[.]σλε̣ισπσ.
Commentary: =
B 6137.546. On p. 51, Haspels discusses the double appearance of two souls
flying over the tumulus. Attic alphabet.
Bibliography:
*Photo. — Haspels (1936), 50-51; cf. 60 n. 1. — ABV (1956), 378/257. — Stähler
(1967), fig. 8 (dr.). — Para. (1971), 163. — Add.[2] (1989), 100.
Author: H.R.I. Internal ID: 3525
h[.]σλε̣ισπσ >
HŐS iLLő-E ISZaPoS > Hős
illő-e iszapos?! (Is this mud proper for a hero?!)
AVI 3350; BAD 302355
Delos, Archaeological Museum 547.
BF lekythos. From Delos. Leagros Group{1}; Class of Delos 547. Last quarter
sixth 510-500
Decoration: Heracles and
Geryon.
Inscriptions: Nonsense: at
left, top: οεσι. At left, bottom: σι(ν)ο{2}. By Geryon: ονσευσ, retr. Below
Geryon: ευ(ϙ)ισ. To left of the woman at right: εγογοσ.
Commentary:
The inscriptions look in part like imitation names. Koppa is miswritten. The
readings are not very certain.
Footnotes:
{1} Beazley compares the Edinburgh Painter and the Group of Vatican 424. {2} nu
reversed.
Bibliography:
*Photo. — ABV (1956), 379/274. — Para. (1971), 163.
Author: H.R.I. Internal ID: 3526
οεσι >
Ó E SZŰ > ó e szű (oh,
this heart)
σι(ν)ο >
SZŰNŐ > szűnő (is
stopping)
ονσευσ >
ÖNöS E'VéSZ > önös elvész
(selfish will perish)
ευ(ϙ)ισ >
E VaK IS > e vak is (this
blind also)
εγογοσ >
É' GŐGÖS > él gőgös (arrogant
lives)
Ó, e szű szűnő! Önös elvész. E vak is. Él gőgös! (Oh,
this heart is stopping! Selfish will perish. This blind also. Arrogant lives!)
AVI 3359; BAD 44119
Detroit, Private: Lawrence A.
Fleischman. BF lip cup. Workshop of Phrynos Painter (Joan Haldenstein{1}). Ca.
550 (Hamma–Guy).
Decoration: A, B, each: lip:
Heracles and the Lion.
Inscriptions: Handle zone:
A, B, each: nonsense inscription. A:
(λ)(α)(υ)υ(σ)ουλ(σ)(ο)(υ)α(σ)ολυ(.)ο(.)υ(.){2}.
Commentary:
The Fleischman collection is now in the Getty Museum at Malibu. - A: small and
casual letters, partly imitation. The inscription well centered, but the line is
not quite straight.
Footnotes:
{1} Haldenstein published four BF cups at Madison in the Bull. of the Elvehjem
Museum, University of Wisconsin, Madison, Annual Report 1989-91, 8-9 and 12. {2}
the first letter: `Argive' lambda. (σ) = < or >. (ο) = omicron with a short
stroke at 5 o'clock. (υ) lies sideways.
Bibliography:
*Hamma–Guy (1994), 79/33 (ill.; inscr. shows on p. 80, bottom) (no bibl.).
Author: H.R.I. Internal ID: 3535
(λ)(α)(υ)υ(σ)ουλ(σ)(ο) > áLL A ViVó SZÓ VáLaSZÓ' >
áll a vivó szó válaszol (the
fighter stands the word answers)
(υ)α(σ)ολυ(.)ο(.)υ(.) > aVVA' SZÓL ViVÓ éLVE >
avval szól vivó élve (with
that call the fighter is alive)
Áll a vivó, szó válaszol, avval szól: vivó élve! (The
fighter stands, the word answers, with that call the fighter is alive!)
AVI 3360; BAD 46975
Detroit, Private: Lawrence A.
Fleischman. BF amphora. Painter of Berlin 1686 (Bothmer). Third quarter sixth
Ca. 540 (Wight–Guy).
Decoration: A, B, each:
Heracles and Geryon.
Inscriptions: Nonsense: A:
behind Heracles, along the margin: eight letters. To his right, facing him:
ειοτοχειοτ(.)σε(.){1}. Between Geryon's legs: ειοτολολ{2}. Behind Geryon's legs:
eight letters. B: replica of the scene and of the inscriptions, except that the
inscription on Heracles' right is placed between his legs. The number of letters
also differs: 10 letters - 10 letters - 10 letters - 13-14 letters (smeared at
end).
Commentary:
The inscriptions are typical of this painter.
Footnotes:
{1} letter 11 = a filled upside down triangle; letter 14: a thick dot. {2} the
sixth letter perhaps upsilon: ειοτουολ.
Bibliography:
Atlantis (1988), 38-40, fig. 35 (A, reversed) and p. 41 (part of B). —
*Wight–Guy (1994), 81/34 (ill., A, B).
Author: H.R.I. Internal ID: 3536
ειοτοχειοτ(.)σε(.) > ειοτοχειοτυσε{ToSZ}{1}
> E'JÖTT Ő íGY E'JÖTT VéSSZE' íTéSZ >
Eljött ő, így eljött vésszel ítész. (He
did come, thus the judge did come with disaster.)
ειοτολολ >
E'JÖTT Ő eLŐL … > Eljött ő
elől … (He did come before ...)
AVI 3365; BAD 200096
Dresden, Staatliche Kunstsammlungen,
Albertinum 288. RF neck amphora with twisted handles. Unattributed{1}. Last
quarter sixth
Decoration: A: Heracles. B:
Cycnus. [So ARV[2].]
Inscriptions: A: Heracles is
inscribed: nonsense: αθετσ ενϙχεσ. B: the adversary: νοαχ.
Commentary:
L.-J. (referring to Boardman) says that Beazley [where? Not in ARV[2]] thought
the inscription on B should be read [Λυ]καον, retr., but Boardman knows no other
vase with Heracles fighting Lykaon. L.-J. thinks the inscription on B should be
nonsense as is that on A.
Footnotes:
{1} the vase resembles neck amphorae decorated by or near Euphronios, "but the
figures are not Euphronian, though contemporary" (Beazley).
Bibliography:
ARV[2] (1963), 19, top. — J. Boardman, LIMC v (1990), 116, Herakles 2800 [[= iv
(1988), 734, Herakles 17*]]. — *Lloyd-Jones (1995), 44.
Author: H.R.I. Internal ID: 3541
A: αθετσ ενϙχεσ >
A CSE' üTéS ENNeK üGYES > A
csel ütés, ennek ügyes. (The trick is in the hit,
he is skilled with that.)
B:
νοαχ > NŐ AGYa > Nő
agya! (It is woman's brain!)
AVI 3398; BAD 310140
Durham, NC, Duke University Nasher
Museum of Art 1965.8. BF neck amphora. Near Tyrrhenian Group. Third quarter
sixth
History: Ex Northwick Park,
Spencer-Churchill.
Decoration: A: duel of
warriors, between two women and two men looking on. B: similar, between two
women looking on{1}.
Inscriptions: Nonsense: A:
to right of the left woman's head: κυο(σ)ν(ι){2}. Between the warriors' heads:
κτυεσκ. Between their knees: χσνπκσγ. To left of the face of the man at right:
κνγντυ. B: to right of the left woman's chest: κν(ν)(σ)γ{3}. To right of her
shins: χ<ν(σ)νιν{4}. Between the warriors' heads: νσγκσνσγ(ι){5}. Between their
knees: κτνσντν.
Commentary:
All inscriptions but one start with kappa or chi.
Footnotes:
{1} may be Achilles and Memnon (M. Moore by letter). {2} the two letters in
brackets are unclear letters near breaks. {3} either retr., or not retr. with
reversed nu. {4} the fourth letter unclear. {5} the last letter more a dot than
a stroke.
Bibliography:
*Photos. — ABV (1956), 105/3. — Para. (1971), 43. — *Stanley (1994), 30/39, pl.
13 (A, B) and back cover (A).
Author: H.R.I. Internal ID: 3575
A:
κυο(σ)ν(ι) > Ki VÖSZ NőŰ' >
ki vösz nőűl (who will marry
you)
κτυεσκ >
KeTTőVE' SoK > kettővel sok
(with both is to much)
χσνπκσγ >
íGY eSSeN BéKeSSéG > így
essen békesség (let be peace)
κνγντυ >
Ki NeGéNY aTTÚ' > ki negény
attúl (from the one who is affectionate)
Ki vösz nőűl? Kettővel sok, így essen békesség ki negény attúl. (Who
will marry you? With both is to much, let be peace from the one who is
affectionate.)
B:
κν(ν)(σ)γ > KaN öNöSSéG >
kan önösség (male selfishness)
χ<ν(σ)νιν >
íGY eLDőL Nő SZíNIN > így
eldől nő színin (will decide this way on woman's
stage)
νσγκσνσγ(ι) >
Nő SúG KéSZeN SeGíTS >
nő súg készen segíts (the
woman whispers she is ready help her)
κτνσντν >
KiT NőS iNTeNe > kit nős
intene (what as married would caution)
Kan
önösség így eldől nő színin. Nő súg: készen, segíts!,
kit nős intene. (Male selfishness will decide this
way on woman's stage. The woman whispers: she is ready, help her!, what as
married would caution.)
AVI 3402; BAD 31432
Edinburgh, National Museum (Royal
Scottish Museum) 1872.23.4. BF lip cup. Unattributed. Third quarter sixth
540-530 (CVA).

Decoration: Lip: A, B, each:
female head in outline.
Inscriptions: Handle zone:
nonsense: A: νεενοεινοεσσσε. B: κνειοεοσοεπνσ{1}.
Commentary:
CVA compares London B 402 [attributed to Sakonides]; the letter forms are given
incorrectly.
Footnotes:
{1} readings are from CVA, text, but they are not accurate as the photos. show
(which however are too small to give accurate readings).
Bibliography:
*E. Moignard, CVA Edinburgh 1, Great Britain 16 (1989), pl. 12,6-7.
Author: H.R.I. Internal ID: 3580
A: νεενοεινοεσσσε >
eNNÉ' E NŐ ÉJJe' NŐ ESZeS éSSZE' >
Ennél e nő éjjel, nő eszes ésszel. (This
woman is with him nightly, the woman is clever with brain.)
B: κνειοεοσοεπνσ >
KiNÉ' JÓ E Ő SZÓ' ÉPP NőS / KiNÉ' JÓ E'OSO' E BűNöS
> Kinél jó e, ő szól, épp nős. / Kinél jó, eloson e bűnös!
(With whom this is good, tells her that he is
already married. / With whom this is good, the guilty sneaks away!)
AVI 3405; BAD 31438
Edinburgh, National Museum (Royal
Scottish Museum) 1881.44.22. BF oinochoe. Unattributed. Last quarter sixth Ca.
520 (CVA).
Decoration: Ajax and
Achilles playing a board game, with Athena in the center.
Inscriptions: Mostly
nonsense or mock inscriptions: above and around the helmet of the left hero:
νεο(τ)δκυο. To right of his head and shield: καλε{1}. Above and around the
helmet and back of the right hero: δενοιεκοσ{2}. To left of his face: νιδσ{2}.
Commentary:
Based on a hasty note and CVA. The inscriptions seem to me to represent
illiterate attempts to write kalos-inscriptions rather than nonsense. Is the
left one for Neokleides (despite the kale)? CVA calls the left hero Achilles,
the other Ajax.
Footnotes:
{1} so the photo and autopsy; the previous word inaccurate in CVA, text. Or
καλε? {2} so CVA, text; I did not read it; the photo shows: ...κοσ^νιδσ; i.e.,
the last two inscriptions go together.
Bibliography:
*E. Moignard, CVA Edinburgh 1, Great Britain 16 (1989), pl. 11,4-6.
Author: H.R.I. Internal ID: 3583
νεο(τ)δκυο καλε >
νεο(τ)δκλο καλε >eNNÉ'
ÖT DuKáLÓ oKKAL E > ennél öt dukáló okkal e
(his five is winning with reason)
δενοιεκοσ νιδσ >
DE NŐJÉ' KÖSZöNI aDóS > de
nőjé(rt) köszöni adós
(but for the woman he thanks he remains a debtor)
Ennél öt, dukáló okkal e, de nőjé(rt)
köszöni, adós! (His five is winning with reason,
but for the woman he thanks he rather remains a debtor! )
AVI 3431; BAD 7965
Eleusis, Archaeological Museum 907.
Frs. of BF epinetron. Sappho Painter. Ca. 500 Still sixth (Haspels, 105).
Decoration: Amazons arming.
Inscriptions: Nonsense: fr.
a: ?](.)ετοτοτ. h(.)οτ. Fr. b: τειτ. πεhι{1}.
Commentary:
See Haspels 96 for a discussion of the Sappho Painter's use of nonsense
inscriptions. (.) preserves a bit of a letter. Lissarrague lists this vase as an
example of nonsense in the position of a song [from the mouth].
Footnotes:
{1} D. Philios mentioned the possibility that the letters attached to the
fighters imitate barbarian war cries and those attached to the trumpeter, music.
This is strongly supported by Bélis. Lissarrague follows her. My readings differ
from Belis' readings and I do not believe that the inscriptions are musical
notation: Immerwahr Belis fr. 1: ?](.)ετοτοτ τοτοε hτ̣οτ το<τ>η fr. 2: πεhι Γεηι
fr. 3: τειτ τειτ I think that none of the inscriptions are retr. as Belis
assumes.
Bibliography:
*Photo. — Kabbadias (1895), pl. 8,1-3. — *Haspels (1936), 94, 98, 228/54, pl.
34. — *Bélis (1984), 99-104 (reads the inscriptions as musical notation). — *H.
Metzger (1986), 67/17 (the first inscription there read .ΕΤΟΤΟΥ, the rest from
my readings). — Lissarrague (1990a), 127, fig. 97 (sketch of fr. a, with
inscriptions).
Author: H.R.I. Internal ID: 3609
?](.)ετοτοτ
h(.)οτ > KE'Tő ÖTÖT HíVoTT >
Keltő ötöt hívott. (Five times sounded the wakeup
call.)
τειτ πεhι >
öTTE' ÜTi éPP E HŰ > Öttel
üti épp e hű. (Five times hits her this very
faithful.)
AVI 3521; BAD 12960
Florence, Museo archeologico
nazionale. BF band cup{1}. Unattributed. Third quarter sixth
History: Ex Vagnonville.
Decoration: Erotic scene: a
nude youth carrying two wreaths; man embracing another youth who holds up a
wreath.
Inscriptions: Nonsense:
above the left youth: πσειν. To his left: αειυπσι. To right of his legs:
αξνπες{2}. To right of the right youth's head: αιϙε{3}. To right of his legs:
τασεστλε.
Commentary: I
do not know whose drawing this is.
Footnotes:
{1} patch band cup (Beazley). {2} so the dr.; I thought the xi was meant for an
epsilon. {3} the first letter could be a delta.
Bibliography:
*dr. — *Beazley (1947), 216[[f.]]/γ 2 (not ill.).
Author: H.R.I. Internal ID: 3698
πσειν >
BeSZÉLJ Nő > beszélj
nő (speak up woman)
αειυπσι >
Á'-E JöVőBe SZŰ > áll-e
jövőbe szű (will your heart stand in future)
αξνπες >
AKaSSZa üNNePES > akassza
ünnepes (hang it up ceremonially)
αιϙε >διϙε{3}
> aDIK-E > adik-e (will
they give her)
τασεστλε >
iTT A SZESZ íTéL-E > itt a
szesz ítél-e (will the excuse judge here)
Beszélj, nő!Áll-e jövőbe szű? Akassza ünnepes! Adik-e? Itt
a szesz ítél-e? (Speak up, woman! Will your heart
stand in future? Hang it up (the wreath)
ceremonially! Will they give her to me? Will the excuse judge here?)
AVI 3522; BAD 9017677
Florence, Museo archeologico
nazionale. Fr. of band cup. Unattributed. Third quarter sixth 550-530
Inscriptions: Nonsense:
πσοικσ.
Commentary:
Beazley and Payne compare London B 600.40, q.v.
Bibliography:
*Beazley–Payne (1929), 268 (not ill.).
Author: H.R.I. Internal ID: 3699
πσοικσ >
PöSZe OLYiK SZó / PiSZe OLY KiS … >
Pösze olyik szó / pisze oly kis (orr). (Some
words are lisping / (the nose) is snub so small)
AVI 3540; BAD 310008
Florence, Museo archeologico
nazionale 3773. Fragmentary BF Tyrrhenian neck amphora. From Tarquinia.
Castellani Painter (Bothmer). Third quarter sixth Early period (Kluiver).
Decoration: Body: upper
zones: A: Amphiaraos leaving home. B: chariot race{1}. Lower zones: A: Heracles
and Amazons. B: Dionysus with satyrs and maenads. Neck: A: fight. B: arming: the
right half is clear: a nude and bearded man is confronted by three women, two of
whom carry shields, the third a sword(?).
Inscriptions: Nonsense:
neck: B: at the extreme lower right, facing the margin: (α)(ε)φχι{2}. Shoulder:
A: to right of the head of the charioteer of the second chariot: γ(τ)ο(ε){3}.
Between the wheel and the rear of the horses of the front chariot: οτοακγ{4}.
Between the horses' legs: γτο(ε){5}.
Commentary: +
Berlin 1711. Very peculiar letter forms, characteristic of the Castellani
Painter.
Footnotes:
{1} Shapiro thinks the subject is the Funeral Games for Patroclus: three
chariots are racing; the last is crashing to the ground; at right, a goal post
with a cauldron on top; bleachers with six unlookers; a tripod. {2} the first
letter is a blob; the second is uncertain but perhaps an epsilon, though not
lying on its side as the others; the third letter is a phi or perhaps theta. {3}
the tau is not clear; the epsilon is horizontal with short vertical strokes;
this could also be read retr. {5} epsilon as the last. The inscription is
identical with the first in this scene.
Bibliography:
*Thiersch (1899), pls. 3-4 (drs), and p. 64. — FR (1904–32), iii, 5, figs. 2-3
(after Thiersch, pl. 4). — ABV (1956), 95/8, 683. — Para. (1971), 36. — Add.[2]
(1989), 25. — AttScr (1990), no. 280. — Carpenter (1991), fig. 267. —
Esposito–De Tommaso (1993), pl. 21. — R. Blatter, LIMC vii (1994), Peliou athla.
— *Shapiro (1994), 35 and 37, figs. 21-22 (A, B, neck and shoulder). — McGowan
(1995), 622, fig. 2. — Kluiver (1996), 9/180 and 13 (inscrr. mentioned), figs.
17-18 (17 shows 2 nonsense inscrr., faintly).
Author: H.R.I. Internal ID: 3717
(α)(ε)φχι >
Á' E FeGYŰ' > Áll e fegyül.
(He stands disciplined.)
γ(τ)ο(ε) >
üGeTŐ-E > Ügető-e? (Is
it trotting?)
οτοακγ >
Ó eTTŐ' A KéG > Ó ettől a kég.
(The course cautions against it.)
γτο(ε) >
üGeTÖ E > Ügetö e. (It
is trotting.)
AVI 3544; BAD 8076
Florence, Museo archeologico
nazionale 3858. BF hydria (kalpis). From Vulci (Inghirami). Unattributed. Last
quarter sixth Ca. 510 (Bocci).
Decoration: Shoulder:
chariot with charioteer; in front, a dog.
Inscriptions: Shoulder:
nonsense: behind the charioteer's back: (ν)ν. To his right: χαχχι. Under the
horses' bellies: χρεγ, retr. Above the dog: ιχ̣χ̣ν.
Commentary:
The lettering recalls the Leagros Group.
Bibliography:
Inghirami (1835), iii, pp. 30ff., pl. 211. — *P. Bocci, CVA Florence 5, Italy 42
(1969), pl. 42,1-3. — *Esposito–De Tommaso (1993), 46/58 (shows inscription
small).
Author: H.R.I. Internal ID: 3721
(ν)ν χαχχι >
üNőN aGYA' eGYüGYű > Ünőn
agyal együgyű, (The simpleton's mind is on doe
(woman),)
χρεγ ιχ̣χ̣ν >
íGY RÉGi ÜGY GYüN > így régi
ügy gyün. (so the old case comes again.)
AVI 3569; BAD 202261
Florence, Museo archeologico
nazionale 3991. RF column krater. Chairippos Painter. First quarter fifth
500-490 (CVA).
Decoration: A: fight: duel
over a fallen comrade. B: komos: two youths (one with a cup).
Inscriptions: A: nonsense:
imitation letters: between the heads of the duelists: λ(ν)(ο)(κ)γεσ.
Commentary:
CVA suggests Ε]υνοκλες, referring to Bechtel (1917), 166; but it is clearly
nonsense.
Bibliography:
*D. Levi, CVA Florence 2, Italy 13 (1938), III I, pls. 38,3 and 41,1-2 (facs. in
text). — ARV[2] (1963), 236/1.
Author: H.R.I. Internal ID: 3746
λ(ν)(ο)(κ)γεσ >
éLNe Ő Ki iGÉS/eGÉSZ > Élne ő
ki igés/egész! (The good with words/the whole man
could live!)
AVI 3587; BAD 9458
Florence, Museo archeologico
nazionale 72732. BF pelike. Antimenean{1}. Ca. 500 (Scheibler).
Decoration: A: bearded oil
seller sitting on a basket(?), with a stick in a pelike, gesticulating to a
woman customer. B: bearded oil seller at a stool warding off with a stick two
dogs attracted by a group of lekythoi and a pelike.
Inscriptions: A: from the
man's mouth: κ(α)λον ε(ι)[1-2(?)]{2}. B: to right of man's upper body (it issues
from the mouth of the seller): κ(.)ναμ̣εμι̣{3}.
Commentary: I
do not think the inscriptions are nonsense, though they are probably partly
miswritten. On A the seller is praising the oil.
Footnotes:
{1} not in Beazley. {2} triangular alpha. The end of the inscription is quite
doubtful; the ph. seems to show a restoration following the bracketed iota. {3}
very uncertain reading (the surface is dirty).
Bibliography:
Waele (1926), 1, 288, fig. 4. — *Scheibler (1983), 19, fig. 7 (B). —
*Esposito–De Tommaso (1993), 45/57 (A). — *Shapiro (1997), 65 and nn. 16 and 27.
Author: H.R.I. Internal ID: 3764
A: κ(α)λον ε(ι) > κδλον
ε(μ)
ζ{2} >
KiDűLŐ NEM eZ > Kidülő? Nem
ez! (Is it spilling? Not this one!)
B: κ(.)ναμ̣εμι̣ >
KeLLeNe ÁM E MI > Kellene ám
e, mi? (Would you like this, ain't you?)
AVI 3628; BAD 202363
Florence, Museo archeologico
nazionale (3 B 15). Fr. of RF cup. Myson. Leagros, kalos. First quarter fifth
Decoration: Int.: satyr
raping a maenad (lower parts). A: warriors (horsemen and hoplites; on one
shield: ithyphallic ass).
Inscriptions: Int.: Λεαγρ[ος
...]. A: on the shield, nonsense: hιγν{1}.
Footnotes:
{1} or: hιγν[--].
Bibliography:
*Photo. — *D. Levi, CVA Florence 1, Italy 8 (1932), pl. 3, B 15. — CF (1933),
.... — *ARV[2] (1963), 242/83. — Para. (1971), 349.
Author: H.R.I. Internal ID: 3805
Int.:
Λεαγρ[ος …] > LEÁ' íGéRŐS >
Leáll ígérős. (The promised
is droopy.)
A:
hιγν > hιγν[- -]{1} > HiGaNYOS >
Higanyos. (Amalgam with
quicksilver.)
AVI 3677; BAD 9011011
Florence, Museo archeologico
nazionale (13 B 46). Frs. of RF column krater. Unattributed. First quarter fifth
Early (Brazley).
Decoration: A: lower part of
picture: Dionysus(?) with the oschos on a donkey; a satyr on either side.
Inscriptions: CVA, under fr.
46: χγογχπγπν χγlονγοσ γονγοσ{1}.
Commentary: +
Florence 13 B 52, 57, 59, 68. - The above transcript does not adequately render
the capital Attic letters in CVA's text. Attic alphabet.
Footnotes:
{1} not mentioned by Beazley. Clearly nonsense.
Bibliography:
*D. Levi, CVA Florence 1, Italy 8 (1932), pl. 13, B, 46. — CF (1933), ....
Author: H.R.I. Internal ID: 3854
χγογχπγπν >
GYuG Ő GaGYáBa GeBéN > Gyug ő
gagyába gebén. (He hides it in
underpants on the nag.)
χγlονγοσ >
íGY GaLLÓ iNGÓS > Így galló
(hintázó) ingós.
(This way the droopy is swinging.)
γονγοσ > γανγοσ
> GANGOS > Gangos. (He
is proud.)
AVI 3691; BAD 200895
Florence, Museo archeologico
nazionale A B 4. Frs. of RF cup. Manner of Epeleios Painter{1}. Last quarter
sixth
Decoration: A: athletes:
discobolus; youth bending over; discobolus.
Inscriptions: A: nonsense?
ναισ̣αιυ(?){2}.
Commentary: +
Florence 1 B 11 and 12; 4 B 50.
Footnotes:
{1} 1629/39 ter; also listed among cups mingling Epeleian elements and
Euergidean, as 104/1. {2} so CVA; not in CF. Under pl. 4, 83 are given the
letters: οσ(?), which ought to be part of this.
Bibliography:
*D. Levi, CVA Florence 1, Italy 8 (1932), pl. A, B 4; cf. ad pl. 4, 83. — CF
(1933), .... — ARV[2] (1963), 104/1, 1629 (add to 150 as 39 ter).
Author: H.R.I. Internal ID: 3868
ναισ̣αιυ(?) >
aNNÁ' IS A JaVa > Annál
is a java! (At him also
the best!)
AVI 3694; BAD 211396
Florence, Museo archeologico
nazionale D B 2. Frs. of RF cup. Tarquinia Painter. Second quarter fifth
Decoration: Int.: a nude
athlete at an altar. A-B: males.
Inscriptions: Int.: between
his head and the altar, nonsense two-liner, the second line centered: Ο Α Μ Α I
Ϲ | Ρ Α Ι Κ Ϲ {1}.
Commentary:
An unreliable reading. Surely not nonsense but hο παις | καλος. Is it in oblique
stoichedon?
Footnotes:
{1} so CVA; not in CF.
Bibliography:
*D. Levi, CVA Florence 1, Italy 8 (1932), pl. D, B 2 [[Appendix, p. 26:
frammento 219, pl. 14, invis.]]. — CF (1933), .... — ARV[2] (1963), 866/2.
Author: H.R.I. Internal ID: 3871
ΟΑΜΑIϹ | ΡΑΙΚϹ >
ΟΑΜΑIΓ | ΡΑΙΚC
> Ő Á' MÁIG | BAJ KiCSi >
Ő áll máig, baj kicsi! (It
still stands today, the damage is small!)
AVI 3699; BAD 210136
Florence, Museo archeologico
nazionale PD 54. RF cup. From Populonia. Telephos Painter{1}. Second quarter
fifth
Decoration: Int.: woman. A:
man, boy and youth. B: male, boy and youth.
Inscriptions: Int.: around
the woman's head: καλος. Ext.: nonsense: A: around the edges: πιλ(ο)συ(ο)πυ. B:
similar (the first half of a semicircle): ΙΙυ(.)π{2}.
Footnotes:
{1} follower of Makron. {2} the first letter consists of two parallel strokes,
the third resembles an arrow pointing up.
Bibliography:
*Minto (1926), 369-70, figs. 7 and 8. — ARV[2] (1963), 819/36. — Para. (1971),
421. — Add.[2] (1989), 293.
Author: H.R.I. Internal ID: 3876
A:
πιλ(ο)συ(ο)πυ > éPÜL Ő SíVÓBÚ'/SZíVÓBÚ'
> Épül ő sívóbúl/szívóbúl. (He
is getting built up from the crying/sucking one.)
B:
ΙΙυ(.)π > Νυϡπ
> NőVe SZéP > Nőve szép.
(Grown is he nice.)
AVI 3708
Florence, Museo archeologico
nazionale PD 250. RF cup. From Orvieto, excavation of Fontana del Leone. Near
Dokimasia Painter{1}. First quarter fifth 480-470 (CVA).
Decoration: Int.: warrior
with his shield, crouching in an ambush. Ext.: plain.
Inscriptions: Int.: around
the figure: nonsense: imitation letters: ιλ<<.
Footnotes:
{1} Beazley, personal communication to Magi; and Para.
Bibliography:
*A. Magi, CVA Florence 4, Italy 38 (1964), pl. 123,4 (Int.). — Para. (1971), 373
(bibl.).
Author: H.R.I. Internal ID: 3885
ιλ<< > ιλ{Λ
DőL}{Λ DőL}*
> Ű LeLeDüL eLDüL > Ű leledül
eldül. (He falls in felony.)
* Λ
tilts over! = ΛΔΛ
AVI 3716; BAD 203513
Florence, Museo archeologico
nazionale PD 362. RF cup. From Populonia. Antiphon Painter. Lysis, kalos. First
quarter fifth
Decoration: Int.: youth
leaning on his stick; at left, sponge, aryballos, strigil hung up. Ext.:
fragmentary: hoplitodromoi: A: two hoplitodromoi arming on either side of a
trainer. B: similar.
Inscriptions: Int.:
nonsense: to left of his upper body, starting below the head, in an irregular
line: κογγισ(?){1}. A: Λ[υσ]ις κ[αλος]{2}. B: above and to left: nonsense: υγ.
Footnotes:
{1} so CVA, text. {2} so ARV[2]; CVA mentions no inscription on A.
Bibliography:
*A. Magi, CVA, Italy 30, Florence 3 (1959), pl. 97,1-3. — *ARV[2] (1963),
341/80.
Author: H.R.I. Internal ID: 3893
Int:
κογγισ > KÖ' GőG IS >
Köll gőg is. (Arrogance is also needed.)
A:
Λ[υσ]ις κ[αλος] > LoVaS IS KiáLLÓS >
Lovas is kiállós. (The
horseman is also exelent.)
B:
υγ > VéGe > Vége?
(End?)
AVI 3745; BAD 12585
Frankfurt, Archäologisches Museum
(formerly Mus. für Vor- und Frühgeschichte) B 394. Frs. of BF band cup.
Unattributed. Third quarter sixth
Decoration: A: handle zone:
in the center, symposium: two males reclining, a dog beneath; at right, two nude
youths dancing; at left, remains of two similar figures. B: similar.
Inscriptions: A: handle
zone: numerous nonsense inscriptions in largish letters, several beginning with
epsilon and some being retr. To right of the couch: ειοντ̣. Between the two
right dancers: εσ̣ονιοσ, retr. A similar inscription to right of the rightmost
dancer, also beginning with epsilon. (The photo shows remains of six
inscriptions, some to left of the couch.) B: similar.
Commentary:
Listed in Beazley Archive as `Frankfurt, Historisches Museum', but I assume that
the vases there are now in the MusVF. The inscriptions on B are more disjointed
and hastier. - For nonsense inscriptions beginning with epsilon see e.g. Munich
2241, with parallels.
Bibliography:
*Photos in Beazley Archive. — Xeroxes in Paris at CRCSA. — *K. Deppert, CVA
Frankfurt 2, Germany 30 (1968), pl. 57,4 (no bibl.).
Author: H.R.I. Internal ID: 3922
ειοντ̣ >
E JÓ NőT > … e jó nőt ...
(… this good woman ...)
εσ̣ονιοσ >
E SZÓN JÖSSZ > E szón jössz!
(On this word you will come!)
The words fit perfectly to the
context, making mokery of the “scientific” mumbling.
AVI 3754a; BAD 350219
Frankfurt, Goethe-Universität:
Archäologisches Institut inv. 136. BF Tyrrhenian ovoid neck amphora. Kyllenios
Painter (Bothmer). Second quarter sixth (Mayer-Emmerling).
Decoration: Shoulder: A;
Heracles and the Hydra. B: fight. Below: three animal friezes.
Inscriptions: Nonsense:
shoulder: A: to left of the left-facing chariot horses, upward:
το:(.)ονοσ(.)[...]. Between their legs, downward: ϝσουδουι, retr. In front of
the charioteer's (i.e., Ioalaus') thighs, vertically down, not facing him:
αδο(ξ):ον{1}. To right of his feet, vertically down, not facing him:
νοϝ(ξ)ο̣ν{1}. To right of the woman behind Heracles, who faces right, downward:
νιι(ο)μγϝιο{2}. Behind Heracles' head is a four-letter inscription, roughly
horizontaL: (.)οε(.), retr. Another short inscription is found to right of his
thigh, diagonally down and facing him: αεσοε. B: between the heads of the pair
of fighters at left, curving downward and facing the second man: hοεο(σ)ο{3}. To
right of the shin of the left warrior of the right pair, diagonally downward:
νοα̣[...]. Between their heads, vertically down and facing the left man(?):
ινοισ(.){4}. At the extreme right, under the left leg of a running figure,
horizontal: [...]τοι vacat.
Commentary:
Fragmentary. - Attic alphabet with sigma 1 and 2, but also the squiggly sigmas,
if they are that. Digamma 2 (u-shaped). Large nu 6's and omicron 1's. See chart
in AttScr.
Footnotes:
{1} note the letters that look like xi's. I think they are squiggly four-stroke
sigmas, although there are also three-stroke sigmas! {2} the omicron has a
vertical line on its right. {3} clearly a squiggly sigma. {4} the last letter
looks like a `6'; it should be an omicron.
Bibliography:
M&M-Auction (1956), 24/84, pl. 20. — Para. (1971), 39. — Schauenburg (1980), 99,
pl. 32,b. — Mayer-Emmerling (1982), 57ff. 200/K 58. — Venit (1989), 106. — LIMC
v (1990), 36, Herakles 1997. — *S. Mayer-Emmerling and U. Vedder, CVA Frankfurt
4, Germany 66 (1994), pls. 11-13 (show inscriptions).
Author: H.R.I. Internal ID: 3932

A:
το:(.)ονοσ(.)[...] > τοζγονοσ
> uTÓ' űZ GONOSZ > utól űz
gonosz (the evil chases us at the back)
ϝσουδουι >
VéSZ Ő VéD ÓVI > vész ő véd
óvi (calamity he guards us protects him)
αδο(ξ):ον >
αδο(ξ)ζον >
Á'DÓ KéZ aZON > áldó kéz azon
(blessed hand on that)
νοϝ(ξ)ο̣ν >
NŐ á'Va KöSZÖNi > nő állva
köszöni (woman standing expresses her gratitude)
νιι(ο)μγϝιο > νιι{ο+ι}μγϝιο
> Ne JaJOLJ MíG VÍ Ő >
ne jajolj míg ví ő (do not wail while hi is
fighting)
(.)οε(.) >
VÍ Ő ÉRTe > ví ő érte
(He fights for her)
αεσοε >
Á' E SZÓÉ' > áll e szóé(rt)
(stands firm for those words)
Utól űz gonosz vész. Ő véd, óvi áldó kéz, azon nő állva
köszöni, – ne jajolj míg ví ő. Ví ő érte, áll e szóé(rt).
(The evil calamity chases us at the back. He guards
us, protects him a blessed hand, the woman standing expresses her gratitude on
that, - do not wail while hi is fighting. He fights for her, stands firm for
those words.)
AVI 3760; BAD 208067
France, Private. RF lekythos.
Bowdoin Painter (?){1}. Second quarter fifth

History: Ex Philadelphia Market. Ex
Basel Market (M.M.). The location of the vase is given in ARV[2] 1665.
Decoration: Satyr with a
thyrsus holding out a kantharos from which wine is spilling (libation).
Inscriptions: Nonsense: to
right of his beard: πππππυ{2}. Below the end of the thyrsus stalk, to right of
the satyr's legs: γε(.)(υ)(σ){3}.
Commentary:
Pi with verticals of equal length.
Footnotes:
{1} so Beazley in ARV[2]; but a note from Cahn in AK 16 (1973) 59 n. 15 says
that he has abandoned the attribution [which had appeared in Auktion 22]. I too
would be doubtful of the attribution as the hand-writing differs from that of
the Bowdoin Painter. {2} to the edge of the photo in AK; the inscription may
continue. {3} unclear in the photo.
Bibliography:
*M&M-Auction (1961), pl. 51/168. — ARV[2] (1963), 683/122 bis, 1665. — *Lanz
(1973), 59, pl. 8,3.
Author: H.R.I. Internal ID: 3939
πππππυ >
PaP éPP PaPo'Va > Pap épp
papolva (priest just chattering)
γε(.)(υ)(σ) >
iGÉRe VeSZ > igére vesz
(takes on words)
Pap épp papolva igére vesz. (Priest
just takes you on words chattering.)
AVI 3769; BAD 207815
Gela, Museo archeologico regionale
inv. 63. RF Nolan amphora From Gela. Painter of London E 342. Second quarter
fifth 460-450 (CVA).
History: Ex Navarra collection.
Decoration: A: woman holding
a lekythos; at left, a chair; at right, a bird. B: woman; at right, a
rectangular object.
Inscriptions: A: nonsense:
non-stoich. two-liner{1}: αοσγγο | πχοοι.
Footnotes:
{1} according to the facs.
Bibliography:
ARV[2] (1963), 668/21. — *F. Giudice, CVA Gela 3, Italy 54 (1974), pl. 38,1-2;
facs. III I, p. 10. — Add.[2] (1989), 278.
Author: H.R.I. Internal ID: 3948
αοσγγο | πχοοι >
αοσγδο | πχθοι
> Á' Ő SZeGőDŐ éPP íGY óCSÓJa >
Áll ő szegődő. Épp így ócsója
(olcsója)! (It
stands slanting. Exactly what makes it cheap!)
AVI 3773; BAD 303453
Gela, Museo archeologico regionale
inv. 108/B. BF amphora (dubleen). From Gela. Unattributed. Early fifth 500-490
(CVA).

History: Ex Navarra collection.
Decoration: A: a young
flautist, and a satyr carrying a full wineskin. B: Capture of Silenus: a warrior
leads him.
Inscriptions: Nonsense: A:
to the flautist's left, facing the margin: εοσο[.]εσ(γ). Around the bearded
head: (ε)ου(.){1}. B: between the figures: (.)ο[...]ς{2}.
Commentary: B
is restored. The letters resemble the writing of the Sappho Painter.
Footnotes:
{1} the first letter smeared, the last a tiny sigma(?) = <. {2} not certainly
complete at end.
Bibliography:
Benndorf (1867), 229/XI. — Brommer (1941), 39/4. — ABV (1956), 482/4. — Para.
(1971), 220. — *F. Giudice, CVA Gela 4, Italy 56 (1979), pls. 20,2 and 21,1-2;
facs. p. 15. — Add.[2] (1989), 121.
Author: H.R.I. Internal ID: 3952
εοσο[.]εσ(γ) > εθσο[ρ]εσ(γ)
> E CSoSZÓ RÉSZeG > E csoszó
(csoszogó) részeg!
(This shuffling man is drunk!)
(ε)ου(.) > (ε)ου{Λ
DőL}{1} > É' ŐVeLe DaL >
Él ővele dal. (With him lives
the song.)
AVI
3774; BAD 204673
Gela, Museo archeologico regionale
inv. 112/B. RF lekythos. From Gela. Painter of Paris Gigantomachy. Second
quarter fifth Ca. 470 (CVA).
History: Ex Navarra collection.
Decoration: Nike flying with
lyre and phiale.
Inscriptions: On the phiale,
below the rim, nonsense, in BG: λασασα{1}.
Footnotes:
{1} so the facs. in CVA, but I wonder if there really is an inscription; the
photos. are small.
Bibliography:
ARV[2] (1963), 423/128. — *F. Giudice, CVA Gela 3, Italy 54 (1974), pls. 25,3,5
and 26,2; facs. p. 4. — Add.[2] (1989), 235.
Author: H.R.I. Internal ID: 3953
λασασα >
aLÁSSA' SZÁ' > Alással
(alvással) száll.
(It (she)
flies with sleep.)
AVI 3788; BAD 208057
Geneva, Musée d'Art et d'Histoire
inv. 18043. RF lekythos. Bowdoin Painter. Second quarter fifth
Decoration: Woman seated at
a wool basket, holding a wreath.
Inscriptions: Above her
head: Πασιθ̣εα{1}. Above the wool basket: nonsense: γμσε(.)σρ̣δ.
Footnotes:
{1} I wonder if Pasithea is a correct reading: the Bowdoin Painter usually has
nonsense or (rarely) insignificant inscriptions. Pasithea is the name of a
Hesperid on New York 08.258.20, ARV[2] 1472/1, AttScr (1990), no. 823; a Nereid
in Hesiod, Theog. 246; a Grace in Il. 14.269, etc.
Bibliography:
Deonna (1943), 3. — *A. Bruckner, CVA Geneva 1, Switzerland 1 (1962), pl.
22,1-2, p. 23 (facs.). — ARV[2] (1963), 682/104 bis. — Para. (1971), 406.
Author: H.R.I. Internal ID: 3967
Πασιθ̣εα >
BA' SZŰCCSE' Á' > baj
szűccsel áll (the trouble is with the furrier)
γμσε(.)σρ̣δ >
éG MeSSE KeSeRűD > ég messe
keserűd (let heaven let
cut your distress)
Baj szűccsel áll, ég messe keserűd. (The
trouble is with the furrier, let heaven cut your
distress.)
AVI 3796; BAD 60
Unlocated. BF Nikosthenic neck
amphora. From Etruria. Painter N. 530-520 Ca. 530 (CVA).
History: Ex Geneva Market. Ex
Castle Ashby, Northampton.
Decoration: Mouth: dolphins.
Neck: floral. Handles, each: youth. Shoulder: between palmettes: A: duel over a
fallen warrior. B: duel. Body: lotus frieze; below it: animals including an
alien piece with cocks fighting, with a hen on either side.
Inscriptions: On the
shoulder, under the handle (left, seen from A): Νικοσθενες εποιεσεν. On the
alien fr.: nonsense: above the left cock, slightly curved: χαικασα{1}. Above the
right cock, similar: [...]χαι̣{2}.
Commentary:
Much repainting; the surface damaged. The readings of the alien fr. in CVA are
there said to differ slightly from those given by others. CVA seems to consider
the two inscriptions as parts of one inscription, which seems to me doubtful as
they are obviously related to the two cocks. The Second Marquess read the first
inscription ΑΙΑΚΙΔ and referred it to Achilles whom he identified in one of the
duels. Klein and Hopkins read a kale-name; Burl. 1888, the names of the cocks
(see Beazley (1929b)). - It is unclear whether the foot is also alien as Beazley
thought it might be.
Footnotes:
{1} so the text of CVA, with three-stroke sigma printed. {2} the inscription is
clearly incomplete fore, but possibly also aft.
Bibliography:
Northampton (1847), 255-62, pls. 15-16. — Klein (1887), 64/44. — Fröhner (1888),
47/107. — Strong (1904), 94f./G 3, pl. 89 [[invis.]]. — Hoppin (1924), 194 (A).
— Beazley (1929b), 6/11. — Philippart (1935), 212. — *ABV (1956), 221/44. — *J.
Boardman and M. Robertson, CVA Northampton, Castle Ashby, Great Britain 15
(1979), Castle Ashby (1979), no. 18, pl. 19,4-8. — Add.[2] (1989), 58.
Author: H.R.I. Internal ID: 3976
χαικασα >
χαικδσα >
íGY ÁLLJ Ki DúSSA' >
Így állj ki dússal! (Stand
out with the loot!)
AVI 3803; BAD 2517
Germany, Private. BF skyphos{1}.
Unattributed. Third quarter sixth 540-530 (Hornbostel).
Decoration: A, B, each:
chariot with charioteer, with a warrior jumping up on it.
Inscriptions: A: nonsense:
between the left palmette and horses, in an uneven line: 11 letters (many
sigmas). Between the warrior and the right-hand palmette, similar: σεσνετνχσι,
retr.
Commentary:
H. lists two other Hermogenean skyphoi with nonsense inscriptions: Carlsruhe B
2598 and Heidelberg S 36.
Footnotes:
{1} of Hermogenean type.
Bibliography:
Hornbostel (1977a), 274/242 (A).
Author: H.R.I. Internal ID: 3984
σεσνετνχσι >
SZeSSZeN ETTű' NaGY SZŰ/eSZŰ >
Szesszen (jókedvre derül)
ettűl nagy szű/eszű. (Big heart/minder cheers up
from this.)
AVI 3804a
Germany, Private. BF lip cup.
Unattributed. Third quarter sixth Ca. 550 (Hornbostel).
Decoration: Int.: surrounded by a
tongue border: a doe to left, scratching its head with its left hind leg.
Inscriptions: Int.: above
the doe, nonsense: φιλϝδιε{1}.
Commentary: Hornbostel does not
mention the inscription; he gives no location or bibl.
Footnotes:
{1} the third letter = V-shaped upsilon; the fourth letter no doubt an epsilon
with one stroke omitted. One is tempted to read φιλε̅δίε̅ `delight', referring
to the scratching, despite the non-Attic ending..
Bibliography:
*Hornbostel (1986), 43/6 (Int.).
Author: H.R.I. Internal ID: 3986
φιλϝδιε >
FÜLe VéDI-E > Füle védi-e?
(Does her ears protect her?)
AVI 3813
Germany, Private. RF lekythos.
Bowdoin Painter. Second quarter fifth 480-470 (Zwierlein-Diehl).
Decoration: Young trainer
with a branch; at left, sponge, strigil and aryballos hung up; at right (on the
ground), a discus with a BG owl in the center, to which the trainer is pointing.
Inscriptions: Nonsense: on
the discus around the owl, in BG: τσοοσ[.]{1}.
Footnotes:
{1} so the text; the photo shows one Ο and blots.
Bibliography:
Zwierlein-Diehl (1977), 314/268 (ill.).
Author: H.R.I. Internal ID: 3999
τσοοσ[.] >
uTóSÓ OSSo[N] >
Utósó osson. (Let
the last flit.)
AVI 3814d
Germany, Private: Zimmermann. BF
neck amphora. Group of Würzburg 199 (Hornbostel). Ca. 510 (Steinhart). Ca. 485
(Beazley (1919)).
Decoration: A: Theseus and
the Minotaur, between a woman and a youth. B: chariot, with charioteer and
warrior, turning round toward the left.
Inscriptions: B: nonsense:
to left of the horses, between handle palmettes, diagonally downward: οσοσ
(σ)(ο), retr.{1}. Under the horses' legs, bearing slightly downward: γροτγϙ.
Commentary:
The Group of Würzburg 199 is related to the Antimenes Painter (Steinhart).
Footnotes:
{1} the letters are rather indistinct.
Bibliography:
Hornbostel (1986), 67/27. — *Steinhart (1996), 61/11 (ill., showing
inscriptions).
Author: H.R.I. Internal ID: 4005
οσοσ (σ)(ο) >
ϙσοσ (σ)(ο) >
oKoS ŐSi SZÓ > okos ősi szó (Clever
ancient saying)
γροτγϙ > γρϙτυϙ
> éG RaKaTa VaK > ég rakata
vak (heavens firmament is blind)
Okos ősi szó: ég rakata vak. (Clever
ancient saying: heavens firmament is blind.)
AVI 3817; BAD 9009482
Gioia del Colle, Museo archeologico
nazionale MG 29. Id. with 3816. (Incl. AVI 3816.) Fragmentary BF column krater.
From Gioia (Apulia), Monte Sannace, excavations of 1961. Leagros Group (Ciancio);
unattributed (Bea. Arch.). Last quarter sixth 520-510 (Ciancio). 550-500 (Bea.
Arch.).
Decoration: A: upper portion
of a scene: Amazonomachy: Heracles and the Amazons. B: very fragmentary: Amazon
in a chariot; Athena.
Inscriptions:
A: to right of the left Amazon's helmet: nonsense: οασ^οασ(.){1}. To right of
the second Amazon's helmet: hιπ<π>οσοιΛς{2}. Above, and to right of, Heracles'
head: hερακλες. Coming from the lost head of his adversary and running into
Heracles' head: [Αν]δρομα(χ)<ε>, retr.{3}.
Commentary:
The museum is located in Bari and houses the finds from the excavations at Monte
Sannace. The inscriptions written by a semi-literate.
Footnotes:
{1} the last letter resembles the `Argive' lambda with a longish horizontal; a
spear intervenes. {2} mock inscription: half sense: hιπ<π>οσ(θ)<εν>ι(α)ς(?). The
sixth letter is a theta showing the dot on the circle in the ph., but given as O
in the facs. {3} the inscription bends upward to avoid H.'s head; the chi is a
blob; the final epsilon was never written.
Bibliography:
BADB: 9009482. — Juliis et al. (1983), 87, fig. 155 (A). — *A. Ciancio, CVA
Gioia del Colle, Italy 68 (1995), pls. 21,1-2 and 22,1-4; fig. 4 (facs. of
inscriptions) (no bibl.).
Author: H.R.I. Internal ID: 4019
οασ^οασ(.) > οασ^οασ(λ)> Ő
ASZó Ő A SZóLó > ő aszó, ő a szóló (she
is shrivelling, she is the talking one)
hιπ<π>οσοιΛς > HŰBŐ’ SZÓ ILLőS >
hűből szó illős (from the
faithful word is polite)
hερακλες > Ha ERő AKLa ÉSZ >
ha erő akla ész (if mind is the pen for force)
[Αν]δρομα(χ)<ε> > δρομαχ >
DuRRÓ Ma AGY > durró
(durrogó/dörgő) ma agy (the
brain is thunderous/roaring today)
Ő aszó*,
ő a szóló. Hűből szó illős: ha erő akla ész,
durró (durrogó/dörgő)
ma agy. (She is shrivelling, she is the talking
one. From the faithful word is polite: if mind is the pen for force, the brain
is thunderous/roaring today.)
*Playing with words: aszó
– a szó(ló) ‘shrivelling – the word(ing)’
Even though the scientists acknowledge that “Herodotus and
others describe bilingual Scythians and Greeks. Multilingualism may have been
more common than generally recognized.” Actually, they look for the
Scythians in the wrong direction: “Although literary
evidence supports the presence of individual Scythians in Greece in the late
sixth and fifth centuries BC, these foreign inscriptions on vases cannot,
prima facie, be taken to confirm historical reports of a large “official”
force of Scythians in Athens.” That large “official” force of Scythians
in Athens is actually the substratum, the native Scythian population of Greece.
So, the attempt of the authors to display the “nonsense” inscriptions on vases
as that of some Caucasian languages is also nonsense! Scythian language is still
alive and well, but nowadays it is called Hungarian. As you could see on the
examples before, and on the followings, you can read the “nonsense” inscriptions
directly, without any linguistic trickery, just by filling in the here and there
left out vowels by the applied method of writing, the so called defective
notation of vowels.
AVI 3822; BAD 25700
Gotha, Schlossmuseum. BF column
krater. Unattributed. Date unclear
Decoration: A: Heracles and
Triton; at left, two Nereids; at right, Nereus. B: Dionysus with thiasos.
Inscriptions: A: nonsense:
to right of the right Nereid's head: υτσο. Around Triton's tail: υ(τ)λυοτσ(ο).
Above the combatants: (υ)συι̣. More.
Commentary:
The letters are ill-formed, partly imitation letters.
Bibliography:
*Photos.
Author: H.R.I. Internal ID: 4027
υτσο > UTaS Ő >
Utas ő. (He
is a traveller.)
υ(τ)λυοτσ(ο) > υζλυοτσo
> ŰZi eLaVOTT SZÓ > Űzi
elavott szó. (He is driven by an
outdated word.)
(υ)συι̣ >(υ)σλι
> ViSSZáLI > Visszáli.
(He ruffles it.)
AVI 3845; BAD 9017707
Göttingen, Georg-August-Universität:
Archäologisches Institut J 35. Fragmentary RF cup. From Italy. Unattributed.
Date unclear
Decoration: Int.: satyr
before a burning altar.
Inscriptions: Int.: starting
above an altar: nonsense: imitation letters: (γ)ι(π)ι(γ)ι(κ)[...].
Commentary:
The gammas, pi, and kappa may all be the same "letter."
Bibliography:
*Jacobsthal (1912), 21, pl. 12,37.
Author: H.R.I. Internal ID: 4049
(γ)ι(π)ι(γ)ι(κ)[...] > (γ)ι(γ)ι(γ)ι(κ)[...]
> éGIG IGéIK … > Égig igéik …
(Their words up to heavens...)
AVI 3858; BAD 16197
The Hague, Museum
Meermanno-Westreenianum inv. 619. BF hydria (kalpis). Athena Painter. First
quarter fifth
Decoration: Shoulder: ship;
at left, dolphin.
Inscriptions: Shoulder:
above the steersman (in the stern of the ship), near horizontal: nonsense:
(κ)ιονιυ:.
Commentary:
The vase is not listed by Beazley.
Bibliography:
*Photo. — Scheibler (1983), 155, fig. 136 (dr. after Köster, Seewesen, fig. 47).
— *Scholl (1993), 353 and 371, fig. 8.
Author: H.R.I. Internal ID: 4068
(κ)ιονιυ >
Ki JÖN JóVa' > Ki jön jóval.
(Who comes with goods.)
AVI 3861; BAD 14263
Amsterdam, Allard Pierson Museum
1850. RF cup. From Italy. Foundry Painter. First quarter fifth

Decoration: Int.: arming:
youth holding two spears and a helmet; a shield behind his feet. Ext.: plain.
Inscriptions: Int.: around
the figure, nonsense: to left of his head: υ(γ)γ vac., retr. To right of it (not
retr.): πλοπυ[...]{1}.
Commentary:
This vase seems to have dropped out of Beazley's lists after AV. - The
inscriptions are in the typical hand of theFoundry Painter: the vase was not
turned to write them.
Footnotes:
{1} this inscription is interrupted by spears and a hand with a helmet:
πλ^ο^πυ[--].
Bibliography:
AV (1925), 474. — *C.W. Lunsingh Scheurleer, CVA The Hague 1, Netherlands 1
(1927), III I c, pl. 4,1-2. — [[J.M. Hemelrijk, CVA Amsterdam 1, Netherlands 6
(1988), pls. 27, 28.3]].
Author: H.R.I. Internal ID: 4071
υ(γ)γ > VéGiG > végig
(all the time)
πλοπυ[...] >
eBBőL Ő BU[GYKáZ] > ebből ő
bu[gykáz] (from this he bubbles forth)
Végig ebből ő bu[gykáz]. (All
the time from this he bubbles forth.)
AVI 3881: BAD 6538
Unlocated. BF lip cup. Manner of
Tleson Painter (Kurtz){1}. Third quarter sixth
History: Ex Hamburg Market: Termer.
Decoration: Lip: A: two
sirens facing, but each looking away. B: similar, but a bit farther apart.
Inscriptions: Handle zone:
A, B, each: a short nonsense inscription, in squat letters and imitation letters
hard to identify: A: σ-νϝ-ν(κ)(α)(.)(ε)ν{2}. B: similar: also starting in sigma
and ending in nu.
Commentary:
The Int., not illustrated, was presumably without figured decoration.
Footnotes:
{1} but placed at the Bea. Arch. in the Unattributed box, since not known to
Beazley? {2} the horizontal strokes represent similar strokes bearing downward.
Bibliography:
*Photos in Beazley Archive.
Author: H.R.I. Internal ID: 4091
σ-νϝ-ν(κ)(α)(.)(ε)ν > Só NöVe' iNKÁBB ENNi >
Só növel inkább enni. (Salt
rather increases one's apatite.)
AVI 3900; BAD 9017685
Cambridge, MA, Harvard Art Museums,
Arthur M. Sackler Museum 1925.30.28. RF cup. Unattributed. Date unclear
Decoration: Int.: satyr with
oinochoe.
Inscriptions: Nonsense:
around the figure: (ε)(α)λυ ^ κσκ{1}.
Footnotes:
{1} the two parts are separated by the head. The first epsilon is upside down.
BADB: 9017685. —
Author: H.R.I. Internal ID: 4110
(ε)(α)λυ ^ κσκ >
(ε)δλυ ^ κσκ >
E'DöLVe KieSiK > Eldölve kiesik. (By
falling down it will drop out.)
AVI 3901; BAD 202582
Cambridge, MA, Harvard Art Museums,
Arthur M. Sackler Museum 1925.30.34. RF pelike. Geras Painter. Second quarter
fifth
Decoration: A: Heracles
carrying a pair of pointed amphoras on a pole. B: satyr getting water from a
well.
Inscriptions: B: about the
satyr's middle, far to the right: κ(α)ι{1}. Under the foot, Gr.: ΔΙΙ{2}.
Footnotes:
{1} beginning of καλος or nonsense? {2} the first upright is short, the second
long. Not in Johnston (1979).
Bibliography:
BADB: 202582. — J. Hoppin and A. Gallatin, CVA Hoppin & Gallatin, USA 1 (1926),
pl. 12,3-4. — ARV[2] (1963), 285/7.
Author: H.R.I. Internal ID: 4111
κ(α)ι ΔΙΙ >
KŰ DŰJJ > Kű dűjj
(dőlj)! (Stone,
fall down!)
AVI 3905; BAD 202186
Cambridge, MA, Harvard Art Museums,
Arthur M. Sackler Museum 1925.30.126. RF column krater. Göttingen Painter. First
quarter fifth
Decoration: A: neck, in
silhouette, centaurs fleeing. Body: in silhouette: warriors lying in wait. B:
body: similar to A.
Inscriptions: A, neck:
nonsense, the letters very rough: (ν)γχ(ν).(ο)χυ. υγγhογσ(.). γχοσγ | γγσογκυ.
Body: σϝσ(κ). εσυ. ϝσιγ(ι). (.)γ(σ). (γ)ϝου(ϝ)(.). On the shield, in a circle:
(ο)οσοχ(υ)οχυσ(.)υογχ(.)σ v{1}. B: body: σπσ{2}.
Commentary:
All inscriptions are nonsense, and are here read left-to-right, but that is
uncertain. Coarse writing, many letters misformed [indicated by ()]. The gammas
could be read as upsilons, but not as lambdas.
Footnotes:
{1} read Χολχος οπσκαλος·>λ in CVA, quite wrongly. {2} I saw no more on B.
Bibliography:
BADB: 202186. — *J. Hoppin and A. Gallatin, CVA Hoppin & Gallatin, USA 1 (1926),
pl. 7. — ARV[2] (1963), 234/11, 235. — AttScr (1990), no. 964.
Author: H.R.I. Internal ID: 4115
A:
(ν)γχ(ν).(ο)χυ >(ν)γχ(ν)h(ο)χυ >
eNGeDJ NeHOGY óVa >
engedj nehogy óva (let it go so that it would not
by protecting)
υγγhογσ(.) > υγγhϙγσ(ν)
> VéGiG HöKK aGGaSSZoN >
végig hökk aggasszon (to the end set back trouble
you)
γχοσγ | γγσογκυ > GaGYa eRőSSéGe | GőG
SZO'Ga-KöVe> Gagya erőssége gőg szolga-köve
(the support assistant of arrogance is the strong point of
an insane)
Engedj,
nehogy óva végig hökk (hökkölés)
aggasszon! Gagya erőssége gőg szolga-köve. (Let it
go, so that, by protecting to the end, trouble would not set you back. The
support assistant of arrogance is the strong point of an insane.)
Body:
σϝσ(κ) > SZíVóS Ki >
szívós ki (tough is who)
εσυ > ESZéVe' >
eszével (with his/her own
mind)
ϝσιγ(ι) >ϝσιγτ
> ViSZ IGáT > visz igát
(carries the yoke)
(.)γ(σ) > IGáS >
igás (carrier)
(γ)ϝου(ϝ)(.) > (γ)ϝον(ϝ)(.)
> iGaVONóVa' éL > igavonóval
él (lives with the draught animal)
Szívós
ki eszével visz igát. Igás igavonóval él. (Tough is
who with his/her own mind carries the yoke. Carrier lives with the draught
animal.)
Shield:
(ο)οσοχ(υ)οχυσ(.)υογχ(.)σ > (ο)ϙσοχ(υ)οχυσγγογχ(.)σ
> OKoSODJ óVÓ GYáVaSáG GŐG GYőZéSe >
Okosodj óvó gyávaság gőg győzése (Listen
to reason protective cowardice is the conquering of arrogance)
B: body:
σπσ > SZó-BeSZe >
Szó-besze (Tittle-tattle)
AVI 3907; BAD 205978
Cambridge, MA, Harvard Art Museums,
Arthur M. Sackler Museum 1927.148. RF Nolan amphora Alkimachos Painter. Second
quarter fifth

Decoration: A: Theseus and
Sinis. B: a wreathed youth.
Inscriptions: A: Nonsense:
stoich. two-liner, approximately left-aligned, in misshappen letters: γο(σ)γ(ο)γ
| (λ)σγο(ο)γ. Under the foot, Gr.: ΝΥ, the upsilon looking like an Attic lambda.
See Johnston (1979), 156/9F 4. A modern trident mark, also found on Harvard
1927.150.Λ
Commentary:
My transcription is an approximation. Imitation of early two-liners, perhaps of
a kalos-name?
Bibliography:
BADB: 205978. — *G.H. Chase and M.Z. Pease, CVA Fogg & Gallatin, USA 8 (1942),
pl. 16,1. — ARV[2] (1963), 529/7.
Author: H.R.I. Internal ID: 4117
γο(σ)γ(ο)γ | (λ)σγο(ο)γ >γθ(σ)γθγ
| (λ)σγοθγ >
GaCSoS áG CSüGG | LeSZ GÖCöGő >
gacsos ág csügg | lesz göcögő (the
knotty branch hangs, it is going to be a jolting)
ΝΥ >
iNGa
>
inga
(fork/pendulum)
Gacsos ág
csügg, lesz göcögő inga! (The
knotty branch hangs, it is going to be a jolting fork/pendulum!)
„b.
At the narrowest point of the Isthmus, where both the Corinthian and Saronic
Gulfs are visible, lived Sinis, ... He had been nicknamed Pityocamptes, or ‘pinebender’,
because he was strong enough to bend down the tops of pine-trees until they
touched the earth, and would often ask innocent passers-by to help him with this
task, but then suddenly release his hold. As the tree sprang upright again, they
were hurled high into the air, and killed by the fall. ...
e. Theseus wrestled with
Sinis, overpowered him, and served him as he had served others.”
(R. Graves: The Greek Myths, 96.b, c.)
AVI 3913; BAD 201683
Cambridge, MA, Harvard Art Museums,
Arthur M. Sackler Museum 1960.236. RF calyx krater. Kleophrades Painter. Ca. 500
Very early (Beazley).
History: Ex [New Haven,] Watkins.
Decoration: A-B: Return of
Hephaestus: Dionysus on one side, Hephaestus on the donkey on the other; satyrs.
Inscriptions: Nonsense: to
left of a satyr with an axe: ιοι. To right of his open mouth: ιστε. Elsewhere:
(γ)ειο(γ)(.){1}. ωε. εισ.
Commentary:
The inscriptions resemble other nonsense inscriptions by the early Kleophrades
Painter, e.g. Princeton, University Museum, RF psykter, Compiègne 1068, RF
psykter; see also AttScr (1990), 82.
Footnotes:
{1} the first and fifth letters resemble Ionic gamma; the last letter is a dot.
Bibliography: BADB:
201683. — *Richter (1936), 100ff., figs. 1 (photo) and 2-3 (drs.). — ARV[2]
(1963), 185/31. — Add.[2] (1989), 187 (much bibl.).
Author: H.R.I. Internal ID: 4123
ιοι > JŐJJ >
Jőjj! (Come!)
ιστε > ιστϝ
> ŰS TéV > űs tév (ancient
vagabond)
(γ)ειο(γ)(.) >{1} (γ)ειο(γ)(•){•=ToSZ}
> éGGE' JÓ GöTöS > éggel jó
götös (with heavens mostly clumsy)
ωε εισ > ωε
ϝισ >
Ő E'VISZ > ő elvisz (it
will take you)
Jőjj! űs
(ős) tév (tévelygő).
Éggel, jó götös (göthös)!
Ő (a szamár) elvisz.
(Come! you ancient vagabond. Who is with heavens
mostly clumsy! It (the donkey)
will take you!)
Contrary to the opinion stated in
the the Commentary, the text perfectly describes Hephaestos reletionship with
Heavens, from where he was ejected out twice, the second time the fall to the
ground ended with brocken legs, so he needed the donky to carry him on.
AVI 3921; BAD 352403
Cambridge, MA, Harvard Art Museums,
Arthur M. Sackler Museum 1972.40. RF hydria (kalpis). Unattributed Pioneer{1}.
Last quarter sixth 510-500
History: Ex New Haven, Watkins.
Decoration: The ransoming of
Hector.
Inscriptions: Πριαμος. χεχι,
retr. χετοι, retr. χινι. τετλ, retr. χετει.
Commentary:
The inscriptions after Auktion 34. The nonsense inscriptions are of Euthymidean
type; see AttScr (1990), 71 n. 35.
Footnotes:
{1} recalls Euthymides and the earliest Kleophrades Painter (Para.).
Bibliography:
BADB: 352403. — *M&M-Auction (1967), 76, pls. 46 and 47, no. 149. — Para.
(1971), 324/13 bis. — *Ashmead–Phillips (1973), no. 19. — Add.[2] (1989), 157. —
AttScr (1990), no. 422.
Author: H.R.I. Internal ID: 4131
Πριαμος > PRIÁMOSZ >
Priámosz (Priam)
χεχι > íGY EGYÜ' >
így együl (unites
this way)
χετοι > üGYET OLY >
ügyet oly (the cause with such)
χινι > χενι
> eGYÉNI > egyéni
(personal)
τετλ > TETTeL >
tettel (with
deed)
χετει > íGY É’TE Ű >
így élte ű (he lived it this way)
Priámosz így együl, ügyet oly egyéni
tettel így élte ű
(mármint Hector). (Priam
unites this way, he (Hector)
lived the cause with such a personal deed this way.)
AVI 3931; BAD 210109
Havana, Museo nacional de bellas
artes 164. RF cup. Telephos Painter (Beazley). Second quarter fifth 470-460
(Olmos).
History: Ex Lagunillas collection.
Decoration: Int.: youth at a
burning altar; at right, another altar or offering table. Ext.: A-B: palaestra.:
A: three youths, one at a pillar. B: similar; clothes on the pillar.
Inscriptions: Int.: καλος.
A: nonsense: above the scene: πϝλ σλ{1}. B: nonsense: above the scene:
κπχλπιχι{1}.
Footnotes:
{1} the inscriptions taken from the text; not visible in phs. Surely there is no
digamma. The readings are poor.
Bibliography:
NNN (1956), Revista I.N.C. [[see ARV[2], p. 1998]] i, iii-iv, 13,2. — ARV[2]
(1963), 817/9. — Olmos (1990), no. 35. — *Olmos (1993), 167/74 (all;
inscriptions).
Author: H.R.I. Internal ID: 4148
Int.: καλος >
oKKAL OSSZa > okkal ossza
(with reason one distributes)
B:
κπχλπιχι > Ki PoGGYa LePi ÍGY Ű >
ki poggya lepi így ű (who
covers it with baggage this way he)
A:
πϝλ σλ > BőVeL SZóL >
bővel szól (speaks with plenty)
Okkal ossza ki poggya lepi, így ű bővel szól. (He,
who covers it with baggage, distributes it with reason, this way he speaks with
plenty.)
AVI 3961
Heidelberg , Antikenmuseum und
Abguss-Sammlung der Universität B 95. Fr. of RF cup. Veii Painter (Penthesilean;
probable, Beazley). Second quarter fifth
Decoration: Int.: youth with
his stick and a lyre "die er auf das Knie stützt. In der Linken schräg einen
langen Stock mit wagrechter Krücke" (Kr.). A: athletes: wrestlers or the like.
Inscriptions: Int.: around
the upper part of the youth: nonsense: [--]ανδυο̣(γ)ς.
Commentary:
The gamma is uncertain (the right hasta is shortened). I am not sure that this
is really nonsense and not a misreading. Kr. reads "ανδρ̣οκ̣ς (Ἀνδρόξενος?)".
Bibliography:
*Drawing. — [[Kraiker (1931), 44/158, pl. 44.]] — ARV[2] (1963), 907/2.
Author: H.R.I. Internal ID: 8494
[--]ανδυο̣(γ)ς >
[--]ανδυϙ(γ)ς >
[ÁLL]ANDó VaKoGáS > [Áll]andó vakogás
(makogás). (Non-stop
mumbling.)
AVI 3983; BAD 4054
Heidelberg , Antikenmuseum und
Abguss-Sammlung der Universität S 35. Fr. of BF lip cup. Unattributed. Third
quarter sixth
Decoration: Lip: A: bull.
Inscriptions: A: handle
zone: probably well centered: nonsense: εποιεποσυποιυποιυ(.)[--]{1}. [[Rather:
εποισ̣ν̣οιυποιυποιυπ[...] ]]
Commentary:
Mocking an epoiesen signature. Small letters. For the mock inscription
Gropengiesser refers to Beazley (1932), 194f. and to Berkeley 8/358, CAVI 2200.
Cf. AttScr (1990), nos. 282-284. Fellmann in CVA, Germany 56, Munich 10,
compares Heidelberg S 35 to Munich 9422, AVI 5382 (which has a different animal
on the lip and long nonsense inscriptions with repeated ιυπ and ιυν) saying that
the former has a bull on the lip and inscription with ιυπ pattern. He asks: is
coincidence excluded? [I rather think it is.] [[See also CAVI 2540, Bologna.]]
Footnotes:
{1} the last letter is in the break.
Bibliography:
BADB: 4054. — *H. Gropengiesser, CVA Heidelberg 4, Germany 31 (1970), pl. 154,6
(no facs.; no bibl.). — [[Haldenstein (1982), 150.]]
Author: H.R.I. Internal ID: 8516
εποισ̣ν̣οιυποιυποιυπ[...] > εποισ̣κοιυποιυποιυπ[...]
> EBBŐ' ISZiK Ő JaVáBÓ' ÍVa eBBŐ'
JóVa' Bő[VÜL] > Ebből iszik ő javából. Íva ebből
jóval bő[vül]. (He drinks the best from this. By
drinking from this he enriches him/her-self with goods.)
AVI 3995; BAD 6359
Helgoland, Private: Kropatscheck.
BF Tyrrhenian neck amphora. Fallow Deer Painter (Bothmer). Third quarter sixth
560-550 (Schauenburg). Middle period (Kluiver).
Decoration: Shoulder: A:
Calydonian Boar Hunt. B: two duels of naked warriors; at right three draped
figures (one with a wreath, two with spears). Below: dot band; lotus palmette
frieze; animal frieze.
Inscriptions: Nonsense:
shoulder: A: to right of the leftmost warrior's outstretched arm: γογσγ. To
right of the second warrior's forehead: λονονσγ̣{1}. Under the boar's belly (and
above a dying warrior): γογογσγ. Between the dog on top of the boar and the
first warrior to its right: λονογ(.){1}. B: between the legs of the third
warrior: νσ(.)[...]. Above the shields of the second pair of duelists: υοσνσγ.
To left of the upper part of the male with the wreath: (ι)ονσν. To left of his
lower legs: υουουο(σ){2}.
Commentary:
Listed as Germany, Private in Hornbostel, Schätze [[1977]]; as Hamburg,
Kropatschek in the Kropatschek cat. [[1980]]; I have changed this to Helgoland.
[[Addenda:]] Listed as Basel Market. - The style of the inscriptions differs
from those of the Kropatschek cat. 73/49, by the same painter.
Footnotes:
{1} the last letter damaged. {2} this could also be read: γογογο(σ), retr., i.e.
facing the figure.
Bibliography:
*Schauenburg (1977), 258/235 (A, B, sides). — Schnapp (1979), 205f. — *Hornbostel
(1980), 68/48 (ill.). — M&M-Auction (1983), 12f./20, [[pl. (sm. but partly quite
cl.)]]. — Carpenter (1984), note 48 [sic]. — Kluiver (1996), 26/238 (inscrr. not
mentioned).
Author: H.R.I. Internal ID: 4156
A:
γογσγ > GŐGöSSéG >
gőgösség (arrogance)
λονονσγ > iLLŐN ÖNöSSéG >
illőn önösség (properly
selfishness)
γογογσγ > aGGÓ GŐGöSSéG >
aggó gőgösség (concerned
arrogance)
λονογ(.) > λονου(.)
> iLLŐN ÓVóS > illőn óvós
(properly protective)
Gőgösség
illőn önösség. Aggó gőgösség illőn óvós. (Arrogance
is properly selfishness. Concerned arrogance is properly protective.)
B:
νσ(.)[...] > öNöSSéG >
önösség (selfishness)
υοσνσγ > óVÓ SZáNáSSáG >
óvó szánásság (protective
pity)
(ι)ονσν > JÓ öNSZáNó >
jó önszánó (good self-pity)
υουουο(σ) > éVŐVe ÓVÓS >
évőve óvós (broodingly
protective)
Önösség
óvó szánásság. Jó önszánó évőve (évelődve)
óvós. (Selfishness is protective pity. Good
self-pity is broodingly protective.)
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