For the third of our posts looking at the objects in the CREWS Display at the Fitzwilliam Museum, we’re going to turn our attention to probably the oldest item we have on display: this cuneiform tablet.
It is time to talk about another item from our CREWS display at the Fitzwilliam Museum. This one is an inscription in the Greek alphabet on the foot of a cup.
This alphabet looks very straightforward compared to the other writing systems present in our display. That’s because our own alphabet comes indirectly from the Greek one. Continue reading “CREWS Display: Aphrodite’s cup sherd”
Welcome to the first in a series of posts on the objects taking part in our display at the Fitzwilliam Museum. You can read more about the setting up of the display, which is an exciting collaboration with the Fitzwilliam and the British Museum, in our previous post. The idea is to use a small set of objects from these museums (plus two replicas made by the CREWS team) to highlight what we are working on and to tell some of the stories behind writing in the ancient eastern Mediterranean.
One of the stars of the show is this limestone statuette base found in the remains of a religious complex at Idalion in Cyprus, known as the Idalion Bilingual, which is on loan from the British Museum for our display (you can see its BM listing HERE). This is inscribed with a dedication written in Phoenician (Phoenician consonantal alphabet) and Greek (Cypriot syllabic script). The Idalion Bilingual was the inscription that provided the vital key needed to decipher with Cypriot syllabic writing system, and is sometimes thought of as the ‘Rosetta stone’ of Cyprus. Continue reading “CREWS Display: The Idalion Bilingual”
I have been meaning to post something about the Bisitun (or Behistun) inscription for ages now, but never seem to get round to it. Noticing that today is International Mountain Day has finally spurred me to action – though this will have to be a short post for now because I don’t have time at the moment to do this wonderful monument the justice it deserves.
The inscription can be found 100m up a cliff, on Mt Behistun in present-day Iran. It’s huge (15 x 25 m) and incorporates images as well as trilingual text in Old Persian, Elamite and Babylonian. All three languages are written in different types of cuneiform, i.e. wedge-shaped writing that was adapted and developed by different societies of the Near East. By the time of this inscription (late 6th or early 5th C BC), cuneiform had already been in use for thousands of years, so what we are seeing here are very late manifestations of a multi-stranded tradition of writing with a very long history. Continue reading “Writing on High”
Did you know that between the 8th and 5th/4th centuries BC, there was more than one alphabet used in ancient Greece? Each region had its own alphabet – all similar to each other but with a few distinctive features (e.g. extra letters, or a special value for a letter that had a different value elsewhere). In this post I want to talk about the island of Crete, which was one of the areas that had its own unique alphabet.
Punic is the name we give to a language spoken in north Africa, a continuation of the earlier Phoenician language (originating in the Levant, around modern Syria and Lebanon), and written for the most part in a developed form of the same writing system. Punic inscriptions have surfaced in several areas around the Mediterranean, but one of the furthest-flung examples comes from a less exotic location – Holt, a town on the Welsh border, a bit to the south of Chester. So what was Punic doing there?
Image from A. Guillaume ‘The Phoenician Graffito in the Holt Collection of the National Museum of Wales’, Iraq 7 (1940), 67-8.
Readers who know German may be interested in a short piece on the Phaistos Disc in Süddeutsche Zeitung today, for which I gave a brief interview. You can read it in full HERE.
(If you don’t read German and want to know more, don’t worry – the Wikipedia page on the Phaistos Disc is quite neutral and can give a lot of the basics about the object.)
Natalia has been talking about the Nikandre statue, whose inscription speaks directly to the reader, in the Classics Faculty’s #30secondsclassics video series.
You can read a little more about the statue in Natalia’s earlier post on talking objects.
We all love a good pun. And by ‘we’, I mean ‘I’, and by ‘good’ I mean ‘terrible’. So for a long time I’ve wanted to make ‘Phaistos Discuits’ – biscuit versions of the famous Phaistos Disc.
The Phaistos Disc is probably the most controversial inscription from ancient Crete, showing a ‘writing system’ (if that is what it is) that is almost unparalleled – a one-off as far as ancient inscriptions go. Despite some (really very unconvincing) attempts at decipherment, our understanding of this object remains extremely limited. However, it is just the perfect shape to turn into a biscuit!
We’re feeling full of the joys of spring today, so it seemed a good time to hunt for some of our favourite spring-themed inscriptions… And when I say spring-themed, yes, I’m talking cute animals!
1. A Late Bronze Age clay cow figurine with a Cypro-Minoan inscription on its side and a pattern of cross-hatching on its forehead.
Image courtesy of Silvia Ferrara.
Cypro-Minoan is a syllabic script of ancient Cyprus (in use between the 16th and 10th centuries BC), related to Linear A and Linear B. It is undeciphered, so unfortunately we do not know what the short text on the side of this cow says. This is the only example of a Cypriot clay figurine with an inscription, but Cypro-Minoan texts are found on a wide variety of different objects.
(Technically, we should really call this little chap a zebu, which is a type of bovid with more raised shoulders.) Continue reading “The Writing on the Cow: Cute Animal Inscriptions for Springtime!”