I am very lucky to be able to spend a few months in the British School at Athens (BSA) and to travel around Greece to do some epigraphic fieldwork for my Thesis. But when I was organising my stay here, many friends and relatives asked me what it is exactly that I was going to do here and why I needed to see the inscriptions for myself if there are editions and photographs. I write this post to answer those questions and to explain the whole process of the epigraphic fieldwork before, during and after the visits to the museums.
The reality is that sometimes there are no photographs for the inscriptions that you work with. The edition may be old and, if no one else cared to take photographs, you are left with only a drawing that may be more or less trustworthy. Even with some photographs it is difficult to see the text clearly and that is precisely why they are accompanied by a drawing (not the other way around). The importance of epigraphic photographs and drawings is that they show what the editor sees, so they are in the end an explanation to how he reads and interprets the inscription. However, I was taught not to trust drawings or photographs (if you keep reading you will see why), so I decided to go and see for myself some of the most problematic and important inscriptions of my Thesis.
Archaeological site of the Athenian Agora.
Continue reading “The unofficial guide to epigraphic fieldwork: what is it and how to enjoy it?”