ἔπειτα, ὡς οὐκ ἀνέπειθεν, ἐμὲ γὰρ ὑπερεφίλει καὶ τὴν ξένην ἐφοβεῖτο, ἀπήγαγεν ἡμᾶς ὑπὸ μαγείας καθʹ ὁδοὺς σφαλερὰς ἔνθα τὸ βάραθρον τὸ μέγα, οὗ κατὰ στόμα ἔκειτο ὁ γέρων ὁ φιλόσοφος τεθνεώς, ἀφικομένοις δʹ ἔδειξε φῶς τοῦ βίου εὐθύ, οἷον κίονα ἑλισσόμενον φώνην ἱέντα καθάπερ βροντῆς, εἶτα διὰ πυρὸς βεβηκυῖα ἀβλαβὴς καὶ ἔτι καλλίων αὐτὴ ἑαυτῆς ἐξεφάνη. ἐκ δὲ τούτων ὤμοσε καὶ τὸν σὸν πατέρα ἀθάνατον ἀποδείξειν, εἰ συνοικεῖν οἱ βούλοιτο ἐμὲ δε ὰνελεῖν, οὐ γὰρ οὖν αὐτὴ ἀνελεῖν ἴσχυεν ὑπὸ τῶν ἡμεδαπῶν ἣν καὶ αὐτὴ ἔχω μαγείας. ὁ δʹ οὐδέν τι μᾶλλον ἤθελε, τὼ χεῖρε τῶν ὀμμάτων προίσχων ἵνα δὴ τὸ τῆς γυναικὸς κάλλος μὴ ὁρῴη· ἔπειτα ὀργισθεῖσα κατεγοήτευσε μὲν αὐτόν, ἀπολόμενον μέντοι κλάουσα καὶ ὀδυρμένη ἐκεῖθεν ἀπήνεγκεν, ἐμὲ δὲ φόβῳ ἀφῆκεν εἰς στόμα τοῦ μεγάλου ποταμοῦ τοῦ ναυσιπόρου, πόδδω δὲ ναυσίν, ἐφʹ ὧνπερ πλέουσα ἔτεκόν σε, ἀποπλεύσασα μόλις ποτὲ δεῦρο Ἀθηνάζε κατηγαγόν. σὺ δέ, ὦ Τισίσθενες, ὧν ἐπιστέλλω μὴ ὀλιγώρει· δεῖ γὰρ τῆν γυναῖκα ἀναζητεῖν ἤν πως τῦ βίου μυστήριον ἀνεύρῃς, καὶ ἀναιρεῖν, ἤν που παρασχῇ, διὰ τὸν πατέρα Καλλικράτους. εἐ δὲ φοβούμενος ἢ διὰ ἄλλο τι αὐτὸς λείπει τοῦ ἔργου, πᾶσι τοῖς ὕστερον αὐτὸ τοῦτο ἐπιστέλλω, ἕως ποτὲ ἀγαθός τις γενόμενος τῷ πυρὶ λούσασθαι τολμήσει καὶ τὰ ἀριστεῖα ἔχων βασιλεῦσαι τῶν ἀνθρώπων· ἄπιστα μὲν δὴ τὰ τοιαῦτα λέγω, ὅμως δὲ ἃ αὐτὴ ἔγνωκα οὐκ ἐψευσάμην.
The English translation was, as I discovered on further investigation, and as the reader may easily see by comparison, both accurate and elegant.
Besides the uncial writing on the convex side of the sherd at the top, painted in dull red, on what had once been the lip of the amphora, was the cartouche already mentioned as being on the scarabæus, which we had also found in the casket. The hieroglyphics or symbols, however, were reversed, just as though they had been pressed on wax. Whether this was the cartouche of the original Kallikrates,[*] or of some Prince or Pharaoh from whom his wife Amenartas was descended, I am not sure, nor can I tell if it was drawn upon the sherd at the same time that the uncial Greek was inscribed, or copied on more recently from the Scarab by some other member of the family. Nor was this all. At the foot of the writing, painted in the same dull red, was the faint outline of a somewhat rude drawing of the head and shoulders of a Sphinx wearing two feathers, symbols of majesty, which, though common enough upon the effigies of sacred bulls and gods, I have never before met with on a Sphinx.
[*] The cartouche, if it be a true cartouche, cannot have
been that of Kallikrates, as Mr. Holly suggests. Kallikrates
was a priest and not entitled to a cartouche, which was the
prerogative of Egyptian royalty, though he might have
inscribed his name or title upon an oval.—Editor.
Also on the right-hand side of this surface of the sherd, painted obliquely in red on the space not covered by the uncial characters, and signed in blue paint, was the following quaint inscription:—
IN EARTH AND SKIE AND SEA STRANGE THYNGES THER BE. HOC FECIT DOROTHEA VINCEY.
Perfectly bewildered, I turned the relic over. It was covered from top to bottom with notes and signatures in Greek, Latin, and English. The first in uncial Greek was by Tisisthenes, the son to whom the writing was addressed. It was, “I could not go. Tisisthenes to his son, Kallikrates.” Here it is in fac-simile with its cursive equivalent:—
ΟΥΚΑΝΔΥΝΑΙΜΗΝΠΟΡΕΥΕϹΘΑΙΤΙϹΙϹΘΕΝΗϹΚΑΛΛΙΚΡΑΤΕΙΤΩΙΠΑΙΔΙ
οὐκ ἂν δυναίμην πορεύεσθαι. Τισισθένης Καλλικράτει τῷ παιδί.
This Kallikrates (probably, in the Greek fashion, so named after his grandfather) evidently made some attempt to start on the quest, for his entry written in very faint and almost illegible uncial is, “I ceased from my going, the gods being against me. Kallikrates to his son.” Here it is also:—
ΤΩΝΘΕΩΝΑΝΤΙΣΤΑΝΤΩΝΕΠΑΥΣΑΜΗΝΤΗΣΠΟΡΕΙΑΣΑΛΛΙΚΡΑΤΗΣΤΩΙΠΑΙΔΙ
τῶν θεῶν ἀντιστάντων ἐπαυσάμην τῆς πορείας. Καλλικράτης τῷ παιδί.
Between these two ancient writings, the second of which was inscribed upside down and was so faint and worn that, had it not been for the transcript of it executed by Vincey, I should scarcely have been able to read it, since, owing to its having been written on that portion of the tile which had, in the course of ages, undergone the most handling, it was nearly rubbed out—was the bold, modern-looking signature of one Lionel Vincey, “Ætate sua 17,” which was written thereon, I think, by Leo’s grandfather. To the right of this were the initials “J. B. V.,” and below came a variety of Greek signatures, in uncial and cursive character, and what appeared to be some carelessly executed repetitions of the sentence τῷ παιδί (to my son), showing that