7/22/06 Etruscan Phrases showing Etruscan conjugation and declension patterns and vocabulary--

translation of the Zagreb Mummy Script, Liber Linteus Zagrabiensis.

Copyright 1981-2006 Mel Copeland. All rights reserved.

Etruscan_Phrases

Translation of the

The Zagreb Mummy Script

by Mel Copeland

(from a work published in 1981)

Characters common to the Roman / English Alphabet

(The codes below the letters reflect relationships to other alphabets. See the Vocabulary/Index.html for

definitions.)

* = Letters which are common to the Zagreb Mummy Script

A* C* E * F* I* K L* N* Q t* V* Z

(ep)

(g)

(b =

e)

(pc

= g)

(h =

b)

(g)

(c) (ep)

(c)

(ep)

(g)

(ep)

(g)

(c =

la,

nu)

(pc)

(ep)

(g)

(ep)

(g)

(b =

do)

(c

=

lo)

(b

=

ro)

(pc)

(ep)

(g)

(b

=

sa)

(pc

=

s)

(ep

=

s)

(g)

(c=

pe,

zo)

(b

=

we)

a

c,

que,

k, s

e f, v i k,

que l n

Q

(rare) t o s

*

*

*

* *

*

th

K,

ch,

que,

ge

u

,o

G,

i

L

rare

F,V,

y, g

G,

I

V

,O

M

T

rare

S S,Z S S h x

(rare)

*

* O* P*

V*

(rare)

also

interchanged

with the V

in the

Zagreb

Script

8* =

V

(rare)

*

L* B B D O,

(the loop is

rare; see

script PS)

S,Z

S,Z

AE? B P R R V,F,u, o V,F,u L B G D O

About the Translation

(7.16.06) I am now verifying the various Etruscan scripts against a new Glossary developed from Table 1,

Etruscan-Indo-European Vocabulary. We have added a map showing Canino, the town near

the Fiora river that appears to be the location where the person of the Zagreb Mummy originated.

(9.04.02)

The Zagreb Mummy text is the longest extant Etruscan text. For this reason it is the most important with

regard to completion of a translation of the various Etruscan texts. At the beginning of my work on the

Zagreb Mummy text I knew very little about the mummy and quite frankly preferred not to know lest it

prejudice my working out the grammatical patterns, etc. In the beginning what I wanted to know is how

its words and grammatical patterns fit in with the other texts upon which I had been working. At this

moment it is clear that it not only reflects the vocabulary and grammar of other texts, as listed in the

Etruscan Phrases pages, but also obviously contributes more knowledge of the language.

My first study of the Zagreb text, because the texts I am working on are so hard to read, is now being

corrected based upon findings in the Tavola Cortonensis preliminary translation. Underlines and letters

with an underline are unreadable from my copy. The images with which I have been working are very

poor. I am presently attempting to obtain good photo copies of the original linens, and when I obtain

them I should be able to clarify some of the "unreadable" texts. Some of the characters of the linen are

purposely smudged or over-written. Towards the end of the linen the verb 'to smudge" is used explaining

why certain texts are that way. Generally where the word IRI appears it is smudged or over-written so

badly you can't make any sense of the characters. I think the scribes were reflecting a great deal of

superstition to the extent that by smudging the text relating to the wrath of the gods/underworld the

mummy would avoid the wrath as well. Escaping the wrath seems to be the pervasive thought. In the

beginning of the text, Script ZS, we are told about the wall and escaping through it. Many Etruscan

murals show the dead being pursued and in the process of escaping through the wall of the tomb. Two of

these murals, the Tuchulca Mural and the Charon Mural, are on this site.

The words are selected from the Etruscan_Phrases.html, Table 1, Etruscan-Indo-European Vocabulary.

You can access other scripts through the bottom frame.

About the Mummy

I have learned a bit about the Zagreb Mummy from Dr. Ivan Mirnik, M.A., Ph.D. of the Arheoloski

muzej u Zagrebu (The Zagreb Archaeological Museum). The linen wrapping of the mummy is called,

"Liber Linteus Zagrabiensis". According to Dr. Mirnik the museum collaborated with Mrs. Mechthild

Flury-Lemberg of the Abegg Foundation at Riggisberg nr. Berne. She reconstructed the Zagreb Book of

Linen. Mr. Nazzareno Gabrielli, the chief of the Vatican Museum Laboratories, is the one who saved the

mummy. Others who helped with the reconstruction of the texts include specialists: the late Massimo

Pallottino, Francesco Roncalli (who supervised the reconstruction), Ambros Josef Pfiffig and Helmut Rix.

Mr. Igor Uranic, who is in charge of the museum's Egyptian collection, oversees the Zagreb Mummy.

When I learn other details about the mummy I will post them here. At the moment the less I know about

the mummy the more objective this work will be. The work is proceeding much more quickly than with

other texts--for obvious reasons--and before long I will get the answers to certain questions, such as:

Where was the mummy found? It was found in Egypt, according to the Zagreb Museum. The text refers

frequently to CISVM (Cisum) which may be the town, Chiusi or the word for a four wheeled cart. Also

Falarri, as in the Tavola Cortonensis, is mentioned frequently. This is a town up the Tiber from Rome.

Also Spina is mentioned, which is a few miles northwest of Venice.It is a town mentioned in the Tavola

Eugubine. Rome is mentioned several times in several contexts.

Is the mummy an Italian? What is the forensic data as to any genetic links the mummy may have with

the particular population where the body was interred? This may be the only surviving corpse of the

Etruscan Civilization. What do we know about it?

When was the mummy embalmed? How old was she when she died? What did she die from? Did she

have children?

What did the container in which she was preserved look like, etc.? Was it a sarcophagus of stone?

In what kind of burial was it found? A tholos tomb, shaft grave? What were the artifacts which

accompanied the mummy? Where were they made?

Are there any peculiarities or anomalies between the embalming of known Egyptian mummies and this

one?

Does it show any characteristics which might share a common technique with a particular group of

mummies?

Is the linen Egyptian? If it is, how is it that an Etruscan scribe wrote upon the linen? Would it have

been written on in Italy and then shipped back to Egypt? I don't think so. I think, just as all deaths can

never be anticipated, when the person was dying she requested that she be mummified and the wrapping

carry her message to "heaven," the gods who would be receiving her in her after-life. She no doubt

requested that her body be interred in her home. She would have had to have had a fairly high station in

life to afford such a luxury and, no doubt, because she had been wrapped in a text, she was well educated;

and the message would be expected to reflect the soul of the departed, her mind and points of view. Since

the text would never be expected to be read by any mortal, it could be assured that the linen probably

thematically follows the Egyptian Book of the Dead (writings in the Egyptian tombs, much of which have

to do with formulas to get the departed through the judgment of Osiris, the judge of the Underworld).

But it would address Etruscan gods and values.

Was the linen one long piece of fabric when the scribe first wrote on it? And then was it torn into

panels? Some of the panels appear to have the top half of a line of text and the panel which would have

been directly below it seems to carry the bottom half of the line of text. Associated with this is a line

suddenly becoming smaller in size and then returning back to "the normal size." It is as if the voice of the

soul of the mummy is whispering, having text so much smaller, when it addresses god/the gods.

When the Greeks, led by Alexander the Great, began the Hellenization of Egypt, mummies began to be

found in coffins with Hellenistic designs, often with painted portraits of the deceased on the lids. There

may be a relationship here to the Zagreb mummy, assuming the Zagreb museum has more particulars on

the artifact entrusted to it.

(9.04.05)

The following history of the Zagreb Mummy is from James Wellard, "The Search for the Etruscans,"

Saturday Review Press, NY, NY, 1973, pp. 75-84.

..[Richard] Burton was the first man to draw the English-speaking world's attention to that strange

object called the Zagreb Mummy, which was to affect drastically all future studies of the Etruscans. For

the Zagreb mummy was not simply the embalmed corpse, wrapped in the traditional linen bands, of a

red-headed Egyptian girl. The linen itself was covered with an unknown script which Burton saw,

studied, but never recognized as a unique example of an Etruscan manuscript. The Zagreb mummy is

central to the story of the search for the Etruscans, while at the same time it typifies, in its way, the

strange vicissitudes of the science of Etruscology.

The Egyptian relic was acquired in Alexandria in 1848 by a Croatian called Michael Baric, a minor

official in the Hungarian Chancellery. While travelling in Egypt, Baric bought as a souvenir a

sarcophagus containing (he hoped) a mummy. There was, at this time, a very brisk trade in mummies,

either for the interest attached to the actual coffins in which they were enclosed, or for the ornaments

which were sometimes found on the cadaver. In earlier times still, the embalmed bodies of ancient

Egyptians had an additional value; they were ground up and used as medicine 'mummy' being a staple drug found in all well-stocked apothecaries' shops throughout Europe. 'Mummy' was said to be especially

effective for wounds, bruises, varicose veins, and dysentery, the discovery of its curative properties being

ascribed to the celebrated Jewish physician, El Magar, who lived in Alexandria in the twelfth century.

But by the mid-nineteenth century when Michael Baric obtained his relic, 'mummy' was no longer in

general use as a medicine, and the buying and selling of the corpses was restricted to antiquarians and

tourists. The latter group were often palmed off with a fake. The English mummy expert, Thomas Joseph

Pettigrew, a surgeon at the Charing Cross Hospital and at the Asylum for Female Orphans, reports many

cases where innocent travellers brought back from Egypt bundles of rubbish consisting of sawdust, rags,

sticks, the vertebrae of cats, monkey bones, and the like, stuffed into bogus sarcophagi made in the back

streets of Cairo bazaars. One wonders if specimens of these frauds are not still reposing in the minor

museums and private collections of the western world.

But Baric was lucky, for he had acquired a genuine sarcophagus and mummy, though neither he nor any

one else for the next fifty years had any idea of the unique nature of his purchase. Still, even to have one's

own mummy in the 1840's was something of an achievement, and excitement was always great when the

relic was presented to the public at a special ceremony known as 'opening the mummy.' Thus, a huge

sarcophagus brought back from Thebes by the French traveller M. Cailliaud was opened in Paris in the

presence of learned men on 30 November 1823, and after the seven layers of wrappings were unwound,

making some six hundred yards of linen two to three inches wide, the savants found themselves face to

face with a naked man fifty to fifty-five years old, his arms and hands held straight against his sides, his

hair, which was perfectly preserved, being lightly marcelled, his chest, arms and belly flecked with the

remains of gilt. But what was most interesting of all to the scholars was the discovery that the wrappings

round this mummy were inscribed in Greek. As we shall see, the linen bindings of Michael Baric's

mummy were even more sensational.

He was not to know this, however, for he died in 1859, bequeathing his souvenir to his brother Elias, a

parish priest of a village in Slavonia. Elias had even less interest in this object than his brother Michael,

who had at least had some fun by standing his souvenir upright in the corner of his drawing-room and

informing his credulous lady visitors that it was the body of the sister of King Stephen of Hungary. Elias

preferred to get rid of the mummy altogether and so he presented it to the museum of Agram (today

Zagreb) where it was duly catalogued as follows:

Mummy of a young woman (with wrappings removed) standing in a glass case and help upright by an

iron rod. Another glass case contains the mummy's bandages with are completely covered with writing in

an unknown and hitherto undeciphered language, representing an outstanding treasure of the National

Museum.

The existence of the mummy with the unknown writing on the wrappings was first reported in an article

in The Croation Review of 1880, but it had already come to the attention of Richard Burton in 1877.

Burton had published his Etruscan Bologna in the previous year. During his exile, this extraordinary

man, in addition to his interest in the Etruscans, had commenced a study of runes in the hope of finding a

connection between the runic alphabet and the Arabian script of el-Mushajjar; and while travelling to

Alexandria in the company of Dr. Heinrich Brugsch, the greatest Egyptologist of his time, Burton

happened to be discussing his theory of the origin of runes, when Dr. Brugsch remarked that the runic

script reminded him of the writing he had found on the wrappings of the Zagreb mummy ten years

before. 'Imagine my surprise,' the German doctor remarked, 'when I found that the characters were not

hieroglyphs, but partly Greco-European and partly Runic; at any rate, non-Egyptian.'

Brugsch and Burton both concluded that the unknown text was a translation of the Egyptian Book of the

Dead into some Arabic tongue. Both, of course, were wrong, though to Burton goes the distinction of

being the first to get the text copied out for publication and study. At his suggestion, Mrs. Burton

requested Philip Proby Cautley, the Vice-Consul, to undertake the onerous and difficult job of copying

the text.

In January of 1878, therefore, Vice-Consul Cautley presented himself at the Zagreb Museum where he

was cordially received by the Director, the abb Ljubic. The mummy still stood in the museum, but the

bandages had been removed to the abb's study, where Cautley inspected them. The Vice-Consul now

makes a significant comment in his report to Burton, for he says:

The writing is divided into sections of five or six lines each, measuring about seven and a half inches long,

according to the length of the cloth. These must have been in hundreds; and one of the best specimens was

shown to me at the town photographer's. Each piece appears to have been a chapter...(Richard F. Burton,

'The Orgham Runes and El-Mushajjar: a Study,' Transactions of the Royal Society of literature, vol. xii,

No. 1. 1882, pp 32-8).

Now if Philip Cautley is saying that there must have been hundreds of lengths of bandages inscribed with

Etruscan script (One which had evidently been acquired by the local photographer), it is possible, and

indeed even probable, that a considerable amount of the original has gone astray by being passed round

among the interested citizens of Zagreb and hence, has, by this time, been lost. Additional evidence for

this theory is Burton's statement that, according to Dr. Brugsch who examined the bandages in 1867, the

number of lines would have filled sixty octavo pages. At thirty lines to a page, this would amount to one

thousand eight hundred lines. What we actually have are some two hundred and sixteen lines.

Cautley now persuaded the abb Ljubic to let him try copying the text on tracing cloth, an idea which

'seemed to excite the priest's meriment.' Nevertheless, the Vice-Consul worked away and was able to copy

five chapter of five or six lines each of the now famous liber lineus, a sample of which was first give to the

world in 1882 in the Transactions of the Royal Society of Literature.

It is astonishing that Burton's discovery in its way as significant as his African findings was ignored or passed over by European scholars, since Cautley's tracings represented the first piece of Etruscan

literature ever to be seen since Roman times. Moreover, every piece of Etruscan script that had come to

light had always presented the possibility that the experts might finally find the key to the language and

so an answer to the many puzzles of this mysterious people. But not a single scholar throughout Europe

recognized the text of the Zagreb mummy as Etruscan, even though this was a period of intensive

research into the unknown language by some of the greatest philologists of the time.

There are several reasons. First, the Transactions of the Royal Society of Literature could not be expected

to have had a very large circulation outside the actual membership of the Society itself; second, Richard

Burton's linguistic theory of an oriental origin of the Ogham runes was never taken seriously by the

academicians, who probably ignored his article; and third, Cautley's tracings are not very precise,

whence it is difficult even for someone familiar with the Etruscan alphabet to recognize the script as it is

reproduced in the twelfth volume of the Transactions. In fact, it took another ten years for the

Etruscologists to realize that the most important philological find of the century awaited them in the

Zagreb Museum.

It was the Germans who eventually solved the mystery of the Zagreb mummy, since it was the nineteenth-

century German scholars who undoubtedly had the necessary eruditions and methodology to do so. There

was certainly not a single British Etruscologist of any stature at this time. In fact, the subject has never

appealed to British scholars, though it has always fascinated erudite amateurs like George Dennis; and it

has always attracted devoted eccentrics like Sir William Betham, who spent many a happy hour (as

Burton no doubt did with his palm runes) translating or, rather, torturing Etruscan into English by means of a key of his own invention. The Sir William Bethams, indeed, are still with us, and hardly a year

passes that some amateur does not 'solve' the mystery.

But as one would expect, there was no nonsense about the German's approach to the Zagreb mummy. In

1891, they obtained permission from the authorities for the actual bandages to be sent to the library of

the University of Vienna where Professor Jakob Krall was able to make his examination under

laboratory conditions, with the help and advice of his learned colleagues. It was not long before he

suspected the Etruscan origin of the text, not only by recognizing the alphabet but by identifying several

words whose meaning had been guessed at or was actually known from ancient glosses. His surprise was

great, however, for he had expected the script to be either Coptic, Libyan or Carian, so now the question

of forgery arose. Admittedly, the likelihood of some prankster amusing himself by covering yards of linen

with Etruscan characters seemed remote, but stranger things have happened in the world of scholarship,

as the Piltdown skull will constantly remind us. The Germans were taking no chances of being hoaxed, so

the professors set about analyzing the linen bandages, the ink, and all the circumstances involved in the

mummy. They proved conclusively that the wrappings were genuine Egyptian mummy bandages of the

Greco-Roman period and that the ink was made in the ancient manner from soot or pulverized coal.

Hence the forger, if such there was, would have had to go to great pains to find or manufacture the

genuine articles. In any case, the number and variety of words which were not known at the time (1891)

but were found in inscriptions unearthed at a later date proved beyond a doubt that the text must have

been written by an Etruscan scribe.

The next question that required an answer was whether the inscribed bandages had been specially

prepared for the dead girl as her personal shroud; or whether they were bandages which the embalmers

had acquired at a remnants sale. Egyptian morticians obviously needed enormous quantities of linen for

swaddling their corpses and they were not particular about where it came from. We may compare the

wrapping in a contemporary newspaper of some frangible object like a teacup for export abroad. The

archeologist of the future would probably be more puzzled by the newspaper than by the cup. The

Egyptian embalmers, however, were not interested in what, if anything, was written on the linen they tore

into strips to make bandages for swaddling the mummy, and Professor Krall believed from his

examination of the Zagreb bandages that this was the explanation of the Etruscan text; for he concluded

that the linen on which the text was originally written was torn into strips rather recklessly, without

consideration for the proper sequence of the lines. Moreover, the strips were bound round the mummy

with the writing facing inwards, which would imply that whatever it said had no reference to the dead

person.

There are, then, two theories to choose from. The first is that the dead girl was herself an Etruscan who

died in Egypt where she may have lived with her family. In common with other foreigners who died in

Alexandria, she was embalmed before burial. The Etruscan part of the ceremony in that case would have

been the inclusion of a memorial of some kind, and that is what the liber lineus must be.

This theory has been accepted by those scholars who maintain that many rich Etruscan families fled to

Egypt after the conquest of their principal cities by the Romans during the Republic a diaspora which could, perhaps, be compared with the exodus of Jews from Germany to America during the 1930's. Also

comparable with the Jewish migration would be the Etruscan's devotion to their own religion and their

own gods, about which the mummy book seems to be primarily concerned.

But here difficulties arise; for if the text on the bandages is a book of ritual, as most Etruscologists now

take for granted, why was it wrapped round the body of a young woman? We know from the evidence of

other mummies that the custom was then (as it is now) to commemorate the deceased with the matter-of-

fact details of his name, parentage, length of life (the ancients were meticulous in recording this fact even

to the number of days as well as years and months a person lived), and professional or social distinctions.

Such a record, one would expect, would have been right and fitting for the dead girl. And since we have

absolutely no evidence that women were especially reverenced as priestesses by the Etruscans, it follows

that there would be no justification for wrapping the girl's body in a book of ritual.

We are forced, then, to accept the alternative theory that the linen bindings and the mummy they

swathed have no relevance to each other; in other words, the dead girl was not necessarily an Etruscan at

all, but that the embalmers simply enfolded her in the linen wrappings that came to hand.

There appear to be 43 separate linen panels upon which the writings appear.The cadence of the lines

follows a pattern as well. This text, like the Tavola Cortonensis, does not use the character, "K." The two

texts use "C" and . Also another common character between the two scripts is the character for "F"

which is: . They share a similar way of writing the "M," but the Tavola Cortonensis probably shows

the proper way the letter was written, whereas the hand writing on Zagreb Mummy was less

stylized: . Both texts use three characters denoting various forms of the "S." These are: , , and .

The first panels as listed below are a prayer. One could conclude that it should be a prayer to god/the

gods to restore the soul to life. The wrappings were never designed to be read by anyone but god.

Imagine, then, as god's assistants unwrap the mummy and read the prayer as it is being unveiled, what

the mummy expects them to grant. As it turns out the phrases in the top wrappings are repeated in the

bottom panels, next to the body. There are formula, word groups which are repeated over and over, but

sometimes with different punctuation marks, slightly changing the meaning.

As is true of the Tavola Cortonensis the language remains closest to Latin with shadows of French and

Italian in the vocabulary. For example the word PVIA (appears in several other texts), spelled here,

PFIA, is Italian, "puia" and French "puis", i.e., "then."

Where I am unsure about a character or word(s) they are underlined. Because of the repetitious word

groups I have been able to reconstruct some words where the fabric is torn or missing.

The script is very close to Latin. In the process of the translation of this text I use the most applicable

words from the vocabulary pages of this site. The vocabulary was built from a comparative analyses of

words used in all the extant Etruscan texts. That analyses is the foundation, or work-sheet, for

ascertaining how the words conjugated and declined. Up until this point I would copy and paste phrases--

as for instance these analyzed from the Zagreb Mummy script--into the Etruscan Phrases work-sheet.

Continuing that process is not necessary since the pattern--at least with regard to the Tavola Cortonensis

and Zagreb Mummy Script--is very close to Latin, with shadows of Italian and French. What do I mean

by "shadows of Italian and French?" When cultures come in contact words are absorbed to and fro.

Sometimes the root verb is transmitted as an adjective to another language. An example is the word

ETvNAM which I first read as the verb, It. espiare, "to attone for, expiare, to serve." The same verb in

French is "expier" and Latin, "expiare." In French we have the word, "atonement," meaning

"reconcilation, compensation, redemption, expiation." While this may be the meaning of this very

repetitious word, I have bent towards the following: We atone/wonder/we are inspired (L. atttono-tonare-

toni-tonitum, to be stunned, inspired, frantic; Fr. tonner and s'tonner). The word begins at Z327.

In like manner we can observe root verbs in Etruscan to be represented in Latin as nouns or adjectives.

The vowels used by the Etruscans generally coincide with the same vowel in Latin.

Conjugation patterns. As one will readily see in the vocabulary, the Etruscan words follow a consistent

"regular" pattern of conjugation. The verb, sum, is irregular and recalls the French use of the verb. The

verb, FAC, Latin, facio, is irregular with forms shown as FAS, FAT, etc. The Etruscan use of infinitives

uses the "V" = "o" suffix as in Latin cases. The verb AMAR, "amar"conjugates as: AM, "I love,"

AMAS, "you loved," AMA, "he/she/it loves." AME is "you love." AMV, "amo," I read as the infinitive of

this verb and the word AMVER, "amoer," AMVR, "amor," the noun. AMI I read as "friend."

The word CFA would be read as qua. The "F" is used both as a vowel, "u" and a consonant "F."

Sometimes it is close to the "8" where the consonant "v" is required, as in the word, 8ERV, "vero,"

truth. KFA is pronounced more like chua. Another character with a "K" sound is the "K."

In the Zagreb Mummy text we have frequent declensions of the word for "three." The text addresses the

concept of wrath (L. ira-ae; Etruscan IRI) and uses the word, three, in many contexts of wrath. There is a

trinity of gods and if SVS = It. sosia, double, the soul has a double which becomes one with the three gods.

This formula is expressed in the top and bottom panels of the wrapping. Associated with the precept are

blackbirds which the narrator sometimes raises and other times the soul raises. Sometimes the blackbirds

(MERLUM; It. merlo, L. merula-a) are associated with wrath, i.e., from the blackbirds of wrath you

escape (L. eno-are), as in: MERLVM IRI ENAS.

While I haven't been able to verify the exact name of the woman, it is certain that she is addressed as CN.

In the bottom layers of the wrapping a verse uses the word for "abbreviation" in the context of the

written CN. "CN" is also used in another script. See the vocabulary.

Another often repeated word group is SAC NI and SAC NI CLERI and then SAC NI CN at Z1662. The

word, sack (It. sacco; Fr. sac; L. sacculus-i) seems, in the final analyses, to refer to the mummy wrapping

itself and to CN at Z1662. At Z336, in the top layers of the wrapping, and at Z1861, the bottom panel, we

have the same groups of words containing the word SeREN (It. sereno, Fr. serein, "serene"). Note the

juxtaposition of the same words with a shift in punctuation marks.

Z336 AIS ERAS SEVS CLETRAM SeREN CFE RAK Ce [Translation: to the bronze (L. aes, aeris) you

wander (L. erro-are) of Zeus to the grating/trellis (L. clatro-orum, trellis) the serene (It. sereno, m.; Fr.

serein) you assemble together (L. coeo-ire-iv-itum) I raconte/narrarate (Fr. raconter) here (Fr. ce)]

Z1861 8ARRAN AIS ERAS SEVS CLETRAM SeREN CFE [Translation: they shall change (L. vario-

are); to the bronze (L. aes, aeris) you wander (L. erro-are); Zeus of the grating/trellis (L. clatro-orum,

trellis) serene (It. sereno, m.; Fr. serein) you assemble together (L. coeo-ire-iv-itum)]

This is how the text reads as a whole, with formulas which switch and mix words and word groups to

create a magic spell to protect the soul through its journey where it will be transformed to become one

with the gods, eternal and where it resides in a dual form of the earth as it knew it. Etruscan cities are

mentioned in connection with the soul's passage.

Other verses tend to be formulas expressing the process of mummification. The panel at Z1770 illustrates

the pouring of what appears to be mixture from goat's blood 'here:"

Z1770 CVS CLVCE CAPERI SAM TI Ce SFEM RVM SA [Translation: I give as a reason (L.

causor-ari) you drain (L. cloaca-ae, f.) the Caperi/goats (L. caper-ri, m. he-goat) to your leg (It. zampa, f.;

Fr. jambe) here; we are accustomed (L. suemus) of Rome herself] (L. se, sese) Note: CAPERI is

mentioned first at Z-B4 and repeated with various declensions. CAPER, CAPERE, CAPERI, CAPERIS.

Z1777 MATAN CLVTRAS HILAR [Translation: they are boiled (L. madeo-ere); I closed up (L.

claudo, claudere, clausi, clausum and cludo) to make joyful/cheer up (L. hilaro-are)].

Two blank panels follow and then fragments leading to one last complete panel.

The Etruscans did fear wrath in the underworld. One image of wrath is described by three snakes. They

are associated with the Chimaera. On the top of the devil, Tuchulcha's head are two snakes and from his

head comes another snake giving chase to the departed who in the Tuchulcha Mural on this site is

disappearing through the wall of the tomb. This horrifying figure, or god of the Under-world, has an

image which Christains find comparable to their image of the devil, who has horned ears and a hooked or

beaked nose. The images in the tombs of Etruscans show gods with wings, just as Christians perceive

angels. Continuing with this thought, as one works through this Zagreb Mummy script on the day of

judgment, we can recall the same horrifying images of hell in our own tradition as are being described by

the Etruscans in their tradition. The more I explore this script on judgment the more I ask myself how

much influence the Etruscans had on our vision of the devil and hell, the vision of having to descend into

hell and then escape to "heaven". Christ descended into hell, according to Catholic teaching, and raised

the dead, taking them to "heaven". The back wall of the Sistine Chapel in the Vatican is a good

comparison for understanding what the Etruscans saw as their fate. For despite the wrath in the escape

they obtain eternal life.

Getting back to the "three snakes," since they are so ingrained in the vision of the Chimera (mentioned in

the script), one will find in the Tavola Eugubine, location Q442 and Q483 the word, "TRE8IPER,"

treviper. The word, viper, is used in the Zagreb Mummy script.

Where you see the "work" image is where I am presently reworking the text.

To see a copy of each script click on the link, i.e. SCRIPT ZA.

A rough reading of these scripts follows:

This is the result of my third pass through / reconciliation of the texts.

Panel 1, Fragment

...she strives after here

...you make joyful/person's name, Hilare, the eagle

...to a greater extent to be on guard against

...we rejoice

Panel 2, Fragment

...supposing that in time I honor out of the prayers

...I am gentle; the double she raises up

...the bones there indeed

...the he-goats

Panel 3

........from the thunder; I am you; from the thunder

the trellis; serene she assembles to the god Dis; you sail/pass......Veler

the diseasehere; they would influence; whether the serpent born of wrath.....here

I revealed; I do there; whether; they sing? to us....however

the trells; serene you cherish there which they sing of the vine stock; I do there

at the altar you do not reign; by the sea lest you cherish; the shield; you struggle

Panel 4

the wine of the bones; three at a time; Velere; in drunkenness she stands

one; I am gentle/soft; not to reign; and indeed of the matters; the wrath of things; she summons there

you [pl.] have made mild the wine from ourselves the whey of the lady

to yours we speak; you lived of the chaise; the chariot; you roll around; I carry; the kidneys

through the years poor of pine-wood you care for things; you merited; you are moist/wetted of the rich

(or alternatively you merited the Homeric).

Panel 5

wandering about myself; of the God Tin himself; we speak to yours; you lived of the chaise; behold!

in here; I cover Veler of the resin to us the chariot you possess...

she has wealth I cover; they got again/discovered here; my lords; you join together the lords here; you

join together

the house of honey; I watch; they move the wax you leave/allow; the chariot/wheel

Panel 6

(fragment missing) if you arise of the matters/things the blackbirds I raise you escape

(fragment missing) the disease/stigma; to come of the light you lifted up; I do not reign

(fragment missing) to the ladies; in drunkenness she stood; the trellis

(fragment missing) to recounte she watches the galley of wine

(fragment missing) the goddess Leto I love; serene you assist; to recounte; the sister

(fragment missing) the bones you raise I do not reign....the matters

Panel 7

to the bandages/swaddling bands of the trellis; the serene you assemble of yourself; I carry the grain

to reconte; to watch over not to reign; the vases; CN I take up/assume; woe! I carry

the grain I hid; the sister of the galley of wine; three at a time; Velere

in drunkenness she stood; one I soften; I do not reign; the god Dis; you pass from state to state here

the vases; you possess the chariot; I carry the kidneys; she has wealth I bury; they got again / discovered

here

my lords; you join together the lords here; you join together here; or whether the house; of honey; I

watch

Panel 8

line unreadable

they move by what way?...........supposing that you die

of the blackbirds of wrath here; you escape; if however Velere in drunkenness you stayed

at the chaise you pass from state to state here; the vase if however; to the bronze I wander the vase; but if

of the bronze;I lament the birth of a vase upon I recount here; the skirts; I hid

the sister; to them truly sometimes I wander of the wine I draw in

Panel 9

line unreadable

from CN I joined together; they ordain; in here; the vases; well just look! but if to us

the sack unless which the three; you hasten you spit out the three here

you escape; I wander over the matters; of the god Tin himself; to yours we speak; you lived; the chaise

of the chariot; you are in the possession of; alone the kidneys to rise, to hang onto the things they get

again rich

Panel 10

the sac unless evident/bright to hasten we shall spue out from the stream I merited

you escape; to recount of the sister; not to reign; by the thunder they shall change

to the bronze you wander; Zeus of the trellis; the serene you assemble together; I reconte here

to the sister not to reign; you are three; to the swaddling bands; herself I carry

......not I reign to the chaise you pass from state to state here; I change

Panel 11

the chariot you posses; I carry the kidney of the sister; to hang on to things they get again rich

the sack unless I made clear/illustreous; to hasten there; we shall spue out from the river I merited you

escape but if;

to be cast ashore in this way; or if here; to the chaise you pass from state to state here

the vase; but if; to be ejected/cast ashore the vase that thing; to recount; the skirts/cassocks

I hid of the sister; I do there; the resin upon I recount; you create; you join together the defendants

you have here the hideous region I hid; the god Ep of the house of the borders to us; whatsoever three at a

time

Panel 12

the beech trees and also he releases the bronze I lament the birth; the frightening object you pull up; to be

angry

whatever; I do there; not to reign you are or; you pay money they reveal

to them you wander; Zeus we honor; I am gentle not to reign woe! I trusted

you go I had faith here; the vases of the chairot; they reveal; the bones of wool here

you soften; the reigns/whips you joined together here; Aurelius of the sack unless she calls

to hasten there; she spues out there; to the blackbirds you are here; you escape here; they reveal her

Panel 13

line unreadable

SN to the river I am frantic who to them I cease years and indeed death/Orcus' to the fruitful the

offspring

the old bucket (or Hamphes--a person) you long for; the towers; the king; to be bound/ being bound you

are free from

you deny the years and indeed; we deny death/Orcus; you perish you swam back; N N the river Rage

the vase of the lights; from the thunder; you rejoiced; also I recount however

Panel 14

the accused person you renew; the he-goat here you have of it; she was born; she will pay money of

herself

from the thunder; the great queen there; from the thunder; ai! she celebrates there; I watch the perfect;

hereupon the sack unless she calls

you (plural) did not bring forth; they illuminate Velere; the bucket of the treasury; this thing she

joined/collected together

line unreadable

Panel 15

from the thunder; to them truly of that person; Veler you are; she creates you

you watched truly you watched Veleres

Panel 16

you are the theme; we bring forth that person she summons there; you pay money in/towards her sea

your ghastliness; I recount; you regard; you summoned; to the people of Cato I am absent from the

ghastliness; we conceal

the tops of the earthen pots; the eagle I have unless; of Pania

even like the sole martyr

Panel 17

because she possessed; from the thunder; in what manner; I make there the wrath not at all of the king

of evil; because she possesed; from the thunder; in what manner; I make there the bronze you deceive

evil; because; she possesed Triner; from the thunder in what manner you nourish

evil; because; she possesed; from the thunder; in what manner; I make there; the daughter; you deceive

you stayed her; you stayed her; she possesed; in what manner Triner she takes to her own the sack unless

of the god Tini

Panel 18

whether to hasten any of the year; the salt she eats of the men I recounte

to wander Chaos to hasten she unites there; we are accustomed; they chop, they guard

I reign over whom of hers; we wonder; they chop/separate; they bewail the comrades here of the men

you I am; from the thunder; to us the place of slaughter; the he-goat she cherishes

you have summoned the bronze indeed; to the staff whether we hunt; I kill; the bones/bodies there

Panel 19

line unreadable

to the cellar you wall in yourself; from the thunder you reconte here of their bones; she refused to give

the eagle she loves; we wonder; to hasten she ruined Hilare the eagle

I make there; they chop to rase where that you escape the eagle we wonder

I strike the staff to distress the comrades; the man you meet with, the eagle, from the thunder

you I am; from the thunder; I hide CN, I do there; the altar I watched

line unreadable

Panel 20

line unreadable

CN thine CN until they wax the vine of the Arno here I like whom from

the comrads of the men; from the thunder; the great rite; from the thunder; ai!

I make there the brazen footed unit; you took an oath, they wax, they chop

the defendant of Orcus, from the thunder; hereupon we subdue the comrades here of the men

they wax, they chop the threshingfloor I watched; from the thunder, they wax

Panel 21

your king, within you weed; she trusts; I make there the thunder

you till, she unites; you watched; from the thunder now you were trusted the sole heir of the funeral pyre

Panel 22

I hid this/her hour; we weeded Veler she cherishes; they wove there

the mother-in-law you preserved her she is herself absent to pray of the whole I reconte; of the gods

you lead the prison there; I am soft/tender I have left the wine

Panel 23

her we avoid; Aquilar you love; the kidneys ......

the matter of the aversion she permits; to draw out the double she lifts up here to a greater extent the

hinderance of these things

the matter of the aversion you leave alone of yourself to leave behind the wine of Aquilar you love

she works at the mill in her season; in time I honor I make there the bones; you shall drain

the goats of the rich leg; I make there ; I farm of Velere the things; the sack unless hers

thereupon CN I bargain with the lords the three together of Velere; they interweave there, you are united

Panel 24

I am soft purified......

to the rose resin of our moon she was satisfied; I am satisfied of the moon

the sack unless here of Sires the swift you spit out three, you escape

wandering about myself of Tini himself we speak to yours, you lived of the chaise of the beech trees

and indeed there the god Tin of the bronze I lament, I arise of the resin Veler I make there

from the thunder you I am; from the thunder; I hide CN of the three someone/something

Panel 25

she was born......the queen

out of the covering there you are ignorant

one and the same I am soft; I do not reign

the covering there lest the wine you escaped

the vases here, the sack unless a house of the three

line unreadable

Panel 26

to the island of Fescennia you transport CN; tomorrow the Picene towards the gods

at the lord the resin which the sack unless whatsoeveer swift

you spit out three; you escape, you wander to the god Tini himself of yours we speak

you lived, the chaise, the chariot; you are in the power of the divine; the kidneys you hang onto

From the queen of the sac unless evident/brilliant here in/of the bronze you purify these things

Panel 27

the blackbirds I raise; you escape to reconte; I tend the galley

of the wine of the three of Velere; they interweave one and the same I am soft

I do not reign to the double you lift up; the successions of the ancestress....in

they ordain in the dryness Veler of resine......the lambs of the house of the three

you hasten, you spit out the three, you escape...the god Tini himself

line unreadable

Panel 28

line unreadable

you hang on here of the booty here; the sack if not evident to hasten the bones you purify the things

the blackbirds I raise; you escape to reconte of the sister not to reign

thine you raise the vases here; they shall change to the Velerie they interweave themselves

to reconte the serene trellis you regard; not to reign

you are three to the swaddling bands; the double you raise; to reconte of herself I carry the grain

line unreadable

Panel 29

line unreadable

I carry the grain I hid; the sister not to reign Velere they interweave there

one and the same I am soft, I do not reign to the chaise you pass from state to staate here; in the vases

of the chariot you are in the power of; I carry the kidneys; you cleave to here; the booty here

of the sack if not evident to hasten there; you spit out the things, the blackbirds I raise

you escape without the wine of Velere; they interweave there of the god Dis

Panel 30

we adorn the bronze indeed of Hineru; the wine I draw out; I demand indeed

We call by name where someone esteemed I cleansed to them indeed I reconte frequently

Panel 31

I carry, you perish you swam back; we call by name where someone they hollow out

by the sea; the fortune-teller you love; we arise; they chop; to the strong I act

I make there; adorned with gold I sail through the Furies

to the plowed land you love, of the lambs, the ibis, we join together at the riches of the lake

of the king of whom you sail; to the eagle Hamphes of delight you are alone to yourself

Panel 32

I watched Serphoe the eagle, the ibises she whirls around, CN there ; I say nothing of these matters

the six alone you assemble in you of the flesh to herself of Canin the market

you go; the ibis MNR she assembles to; she loves of the three the beech grove indeed there of the god Tini

to them I groan indeed here; hereupon in this place she is covered; from the thunder; to you I am; from

the thunder

I hide CN; Hiner I reign over; the Chimaera of the Anio here you escaped; I make there

line unreadable

Panel 33

Rome of the isle of flesh to myself I gather the cattle; the day of the Romans to honor

I have the lands of Ipa; I demand the dish she likes; I am born; I summon

of Hineru the sixth; you are veiled; at the sea you engage the young married woman CN

to Mars indeed of the bones the gods she watches in the flesh in the kingdom

I set straight the branch alone she cherishes of the sea she engages here the watchman in these matters

Panel 34

of sound mind I trust in Vulcan, Pluto of the gods yours I enjoy; he rests himself

at the altar we confirm the bronze indeed; we rejoice; the sister she is carried up of the brine

you went out here that/where the heights I weed; you went out here from the salt/brine

she strives after the holy here

I reconte indeed; they snatch the sac of the procuress of Fiera; I bring; you bless indeed

I empty yours, her opening you sew; she sailed away by/through the King of darkness

Panel 35

line unreadable

she has here in this place herself the king of the stream that she rests but Rome herself anything

of the darkness although the prison cells I am put in the power of for she asks of the Latins

the gods; the procuress she has of/by the door; you escape; she got out of the consuming fetters

I spit out you alone of her; the grand-daughter of king Lais of the staff out of the darkness

line unreadable

Panel 36

line unreadable

I make there, the consecrated wine of the god Dis; I hid the feather of the Trojans

The things you plunder of the god Dis; the Trojan she takes to her own of the Hanerin; I hid

at the tower you have at this time the rich wine; I make there; of the six we wonder

we boil CN the beam they chop; I compose of the friend of the god Tini

....from the thunder; the matters of Troy; from the thunder

Panel 37

to the Hanerin, from the thunder; I hide CN; we wonder, to the Romans of the god Tini

by Erinyes you are the theme of the succession; at the wall in greatness you reign

the swift I make there; at the altar of the king the bones I brought forth; your chain, the chair of the pick-

axe

in the chair of feathers (winged chair), she goes to the end; I was obliged I spit out yours to them indeed;

Hinerus

she summons the resins

Panel 38

you are the theme, to us someone, from the thunder the bronze indeed....

the little toga here, I wander of the things; I sing of the thunder; she yields

in the thunder they reveal Veler the long-lived; you were preserved

Panel 39A & 39B

line unreadable

to the Veleri I celebrate....the rounds there of CN; they will be; woe! I bear the grain

to the watchmen there.........the thunder in this place you are the theme by which someone

to the kidney she has........the thunder they reveal

Panel 40

line unreadable

the thunder she holds here; from the thunder; from the Romans because the brook of the flocks

the chariot of the gods, the woolen she in here she escaped the god of the Chimaera

he strikes down the Satyrs, you escape by swimming the river Hampheris of the Rhine country

to the king of the altars we groan; the Anio the resting place of the Etruscans, Hilar (Hilar =

sausage/intestines?)

...............cunningly the one and the same Hampheris.........

Panel 41

....from the thunder

to the bronze indeed here in this place I come forth, the defendant to us; to the bronze you wander, of

Zeus

I watch the column of the wall; Hilar(Hilar = sausage/intestines?) you watch opposite the third here

you pass oveer the summit, I arise the one and the same she cherishes the blackbird the restorer

of the wall, Hilar (Hilar = sausage/intestines?) she watches; we cover with regard to three at a time these

things of the wall

I come forth of the kings one and the same she cherishes, you have at that time Hilar (Hilar =

sausage/intestines?)

she watches to reign

Panel 42

in this direction in time here the head there I moisten by whatever way I like; she escapes here to them

indeed to bring forth

you have at that time the Hilar(Hilar = sausage/intestines?) of Rome, from the third here of the

Constellation of the Great Bear

we wonder the bronze indeed here in this place we subdue I do there we thunder

we watch, by this means they heap something; the goddess Uni the great, the beginning indeed there

I cultivate; the matter of the eagle whether the sack if not CN to hasten by whatever way from the salt

Panel 43

I give as a reason, you drain the goats, your leg here; we are accustomed of Rome herself

they are boiled, I drain you pull Hilar(Hilar = sausage/intestines?)

Panel 44--blank

Panel 45--blank

Panel 46

.....the king he comes into existence he is healthy

......upwards he went forth

.....the rock he takes to himself

....I inscribe the things, CN they will be

.....the aversion I pull out of the region

Panel 47

......the lambs of CN......

..... I lock up myself; the god Tini supposing that.....

.... you are in the power of they carry the sister

.....I made illustrious to hasten there

.....I judge yours

Panel 48

........the wrath....the swift

........swiftly the mattter here you join here, whether

.............you are in the power of; I endure

...........to yours we speak, the habitude within, the chariot...........of these matters/things

....to the sister, I hang on to the things, they get again the rich, the sack neither

.....the things/matters of the blackbirds I raise; CN

Panel 49

you join together here, whether to the house you lead; they are at leisure to us/her; you mark the

seats/settings of the moon here

to reconte, she dries up, not to reign; the trellis, the serene you regard

the gods, the vases, the grain to come, her double, I do not reign

they shall change, to the bronze you wander, to Zeus of the serene trellis you assemble

to reconte, she dries up, not to reign; the gods, the vases, not to reign;

* This expression may be rather than "we wonder" by thunder; the Etruscans divined using thunder and

lightening.

SCRIPT ZA

Panel 1, Right hand fragment:

ZFrag. A-1-- MVLA Ce _ [Translation: she strives after (L. molior-iri) here (Fr. ici)] Note: See Z1282.

ZFrag. A-2 HILARE A [Translation: you make joyful/cheer up (L. hilaro-are) the eagle (ACIL) See

Z701.

ZFrag. A-3 MAC CAF_ _[Translation: to a greater extent/more (L. magis [or mage]) to be on guard

against (L. caveo, cavere, cavi, cautum)] See Z817.

ZFrag. A-4--LAETIM H_[Translation: of the fertility/richnes/grace (L. laetitia-a) or alternativewly, we

rejoice (L. laetor-aris)] See Z516

Panel 2, Left hand fragment:

ZFrag. B-1--R SI PVR VRN E PRII [Translation:_ supposing that (L. si) in time (L. porro) I honor (L.

orno-are) out of (L. e)

the prayers (L. priere, supplication, f. prayer book, ritual; Fr. f. prire; It. f. preghiera)] See Z834.

ZFrag. B-2--MVLAK SVS LEFA [Translation: I am gentle (L. mollesco-ere); the double (It. m. sosia)

she raises/lifts up (L. levo-are)] See Z981

ZFrag. B-3--_M VS Le NA [Translation: _ The bones (L. os, ossis) there indeed (L. ne, nae)]

ZFrag. B-4--_S CAPERI [Translation: _ the he-goats (L. m. caper-ri)] See Z1770

Panel 3 (six lines of text) Script ZA

Z-1 (fabric tear/missing word) R E TvNAM TE SIM E TvNAM T(E SIM--fabric tear/missing words)

[Translation: from/by (L. e, ex) the thunder (L. tonitrus [-us] m. and tonitrum-i; verb, L. tono-are-ui-

itum) you (te) I am (L. sim, subj.)from/by (L. e, ex) the thunder (L. tonitrus [-us] m. and tonitrum-i; verb,

L. tono-are-ui-itum)]

Z-5 CLETRAM SeREN CFA TIS FE _ _ _T 8eLER [Translation: the grating/trellis (L. m. clatri-

orum); serene (L. sereno-are; It. m. sereno) she assembles of the god Dis (L. dis, ditis, m. Pluto) you

sail/pass.....Veler]

Z-10 TAR Ce MVTINVM AN ANCFIS NAC IRI _ _ _ R Ce [Translation: the disease/stigma (It. f.

tara) here (Fr. ici) they (would?) influence (L. moveo, movere, movit, motum; to move, set in motion, stir,

remove, disposses, dislodge, influence; It. mouvere; Fr. se mouvoir) whether (L. an) the

snake/constellation Hydra (L. anguis-is) born (L. nascori-i) of wrath (L. ira-ae)_ _ _ here]

Z19 RESI FAC Le AN Se CANIN CE_ _ _ _ _ _ _SIN [Translation: I gave back/revealed (L. resero-

are; It. rendere; Fr. rendre) I make/ do (L. facio, facere, feci, factum) there whether (L. an) they sing (L.

cano-are) themselves (L. se, sese) to us (It. ce) ......however) ] Note: the reflexive pronoun, SE appears in

front of the verb in this script; thus Se CANIN is suspect.

Z29 CLETRAM SeREN KFE Le Ki Se CANIN CEPIS FAC Le[Translation: the grating (L. m. clatri-

orum) serene (L. sereno-are; It. m. sereno) you cherish (Fr. choyer) there which (L. qui; It. chi) they sing

themselves (L. cano-are) of Cepis/the vine stocks (It. ceppo, m., stump; Fr. cep, m. vine-stock); I make (L.

facio, facere, feci, factum) there)]

Z40 ARA NVN RENE MARAM NA KFE AEKiS MVLE [Translation: at the refuge/altar (L.f. ara)

not (L. non) you reign (L. regno-are); of/by the sea (L. mar-is; marinus-a-um) lest (L. ne, nae) you cherish

(Fr. choyer) the shield (L. f. aegis-idis, especially the shield of Jupiter and Minerva) you toil/struggle (L.

molior-iri)]

Panel 4 (six lines of text) Script ZA

Z47 FINVM VSI TRIN 8eLERE IN CRAP STI [Translation: to the wine (L vinum-i) the

bones/bodies (L. os, ossis) three at a time (L. trin-ae-a) Velere (person's name; possibly of the town

Falerri) in L. in) rough cast (Fr. crpi) or alternatively, drunkenness/debauchery (L. crapula-ae, f.) she

stood/stayed (It. stare)]

Z54 VN MvLAK NVN RENeR AC Le RI IRI RIE CIA Le [Translation: one (L. unus-a-um); I am

gentle/soft (L. mollesco-ere); not (L. non) to reign (L. regno-are) and indeed (L. ac, atque) there the things

(L. res, rei); the wrath (L. ira-ae, f.) of things/matters (L. res, rei) she summons (L. cieo, ciere, civi,

citum); there] Note: NVN RENeR--not to disown/deny (Fr. rener) may be a better context for this often

repeated phrase and also NVN REN.

Z64 HVS LeNE FINVM E SISI SERAMV ERA CVSE [ you [pl.] have made mild (L. leno-ire); the

wine (L vinum-i) from (L. e, ex) ourselves (L. se or sese, sui, sibi); the whey (L. serum-i) of the lady (L. f.

era-ae) or alternatively, to Seramus the lady, you plead (L. causor-ari)]

Z72 8ASEI SPVRES TREI ENAS ERvR SE TIN SI [Translation: to the vases (vas, vasis, a utensil;

It. m. vaso, pot, vessel, vase) you spit out (L. spuo, spuere, spui, sputum) three (L. tres, tria); you escape

(L. eno-are, to swim out, escape by swimming, flee) wandering about myself (L. se, sese); of the god Tin

himself (L. se, sese, sibi; It. si) ] See Panel 8, Z300 and the following verse which replicates Z72, Z84; also

Z103.

Z84 TI VRIM AFILS KIS CISVM RVTE TVL RANI [Translation: to you/yours (It. ti) we speak

/beg (L oro-are) you lived of the chaise/chair (It. chiesa, f. church; Fr. chaise, f. chair, seat); the chariot

(L. cisium-i) the two wheeled cart, the chariot (L. cisium-i); you roll around; (L. roto-are) I bear (L.

tolero-are) the kidneys (L. renes-um; It. m. rene)] Note: See Z1818 which contains the same verse.

Z92 A ANI PARF PINES CVRE RI MERI VME RIC [Translation: at/by (a) the years (L. annus-i)

poor (L. parvus-a-um) of pine-wood (L. pineus-a-um) you care for (curo-are) things (L. res, rei); you

merited (L. mereo and mereor) you are moist (L. umeo (hu)-ere) of the rich (It. ricco; Fr. riche)] Note:

VMERIC may be L. adj. Homericus-a-um, Homeric.

SCRIPT ZB

Panel 5 (four lines of text) Script ZB

Z103 ERvR SE TIN SI TI VRIM AFILS KIS EC [Translation: wandering about myself (L. se,

sese); of the god Tin himself (L. se, sese, sibi; It. si) to yours we speak (L. oro-are) you lived of the

chaise/chair (It. chiesa, f. church; Fr. chaise, f. chair, seat) behold/see! (L. ecce)] Note: See Z880.

Z111 IN Ce TEC 8eLER RESIN CE CISVM PVTE T..... [Translation: in (L. in) here (fr. ce; It. ce, adv.

there) I cover/bury ( L. tego, tegere, texi, tectum) Veler (possibly family name referring to the town,

Falerri) of the resin (L. resina-ae) to us (It. ce) the chariot (L. cisum-i) you possess ( L. potior-iri) T...]

Z122 HA TEC REPINE Ce ME LERI SFE LERI Ce SFE [Translation: she has wealth I cover ( L.

tego, tegere, texi, tectum) they got again / discovered (L. reperio, eperire, repperi, repertum) here (Fr. ici)

my (L. me) lords; you join together/sew (L. suo, suere, sui, sutum) the lords here I join together (L. suo,

suere, sui, sutum)] See Z214 for content of Z111-Z133.

Z133 CaSa MELE RVN MVTIN CERE SINE RVT [Translation: the house (L. casa) of

honey/sweetness (L. mel, mellis) I watch (It. ronda, f; Fr. rond, adj. round, ring, circle, orb);they move (L

moveo, movere, movi, motum) the wax (L. cero-are, to smother with wax; It. f. cera, wax); you leave (L.

sino, sinere, sivi, situm); the chariot (L. f. rota-ae, wheel, chariot]

Panel 6 (six lines of text) Script ZB

Z144 [fragment missing] SI VRE RI MERLVM ERIC ENAS [Translation: if (L. si) you rise (L. orior,

oriri, ortus) of the things (L. res, rei) the blackbirds (It merlo m.; L. merula-ae f.) I raise (L. erigo-rigere-

rexi-rectum) you escape (L. enno-are; to escape by swimming, flee]

Z150 [fragment missing] TAR 8eNER LVS LEFES NVN REN [Translation: the disease/stigma (It. f.

tara) to come (L. venio, venire, veni, ventum) to the light (L. f. lux, lucis) you raised/ lifted up (L. levo-are)

not (L. non) I reign (L. regno-are)]

Z155 [fragment missing] LERES IN CRAP STI CLETRAM [Translation: to the head women/ladies

in (L. in) rough cast (Fr. crpi) or alternatively, drunkenness/debauchery (L. crapula-ae, f.) she

stood/stayed (It. stare) of the grating/trellis (L. clatro-orum, trellis)] See panel 8.

Z164 [fragment missing] RAKaR TVRA HEKSR FINVM [Translation: to narrarate (Fr. raconter, to

relate, to tell, to narrate, to recount) she watches over (L. tueo-ere) the galley (L. hexeris-is, f. a galley

with six banks of oars) of wine (L. vinum-i)]

Z170 [fragment missing] LETV AM SeREN IFE RAKaR SVR [Translation: (the goddess) Leto I

love (L. amo-are) serene (It. sereno, m.; Fr. serein) you assist (L. iuvo-are, iuvi, iutum)to narrarate; (Fr.

raconter, to relate, to tell, to narrate, to recount) of the sister (L. soror; It. suora f.; Fr. soeur, f.)]

Z176 [fragment missing] VS LEFES NVN REN F CT REI [Translation: the bones (L. os, ossis) you

raise (L. levo-are) not (L. non) I reign (L. regno-are)_ _ _the things (L. res, rei)]

SCRIPT ZC

Panel 7 (six lines of text) Script ZC

Z180 AL ASEI (PHASEI ) CLETRAM SeREN CFE EIM TVL FAR [ Translation: to the (It. al)

bandages/swaddling bands (L. fascia-ae, f.; It. fascia, f.); of the grating/trellis (L. clatro-orum, trellis); the

serene (It. sereno, m.; Fr. serein) you assemble L. coeo-ire-iv-itum) of itself/yourself (L. eum, eam, id,

himself, herself, itself); I carry/bear (L. tolero-are) the grain (L. far, farris)] Note: See Z1027 which names

the goddess Pha "of Asia."

Z190 RAKaR TVR NVN RENeR 8ASI CN TRAM EI TVL [ Translation:to narrarate (Fr.

raconter, to relate, to tell, to narrate, to recount) to guard/ watch over (L. tueo-ere) not (L. non) to reign

(L. regno-are); the vases (L. vas, vasis, a utensil; It. vaso, m. pot, vessel, vase); CN I take up/assume

(subjunctive case? L. traho, trahere, traxi, tractum) ; woe (L. ei!) I carry/bear (L. tolero-are)] Note: 8ASI

shifts here from the feminine plural EI suffix to I.

Z197 FAR CELI SVR HEKeSR FINvM TRIN 8eLERE [Translation: the grain (L. far, farris) I hid

(L. celo-are); the sister (L. soror; It. suora f.; Fr. soeur, f.) of the galley (L. hexeris-is, f. a galley with six

banks of oars) of wine (L. vinum-i); three at a time (L. trin-ae-a); Velere]

Z206 IN CRAP STI VN MvLAK NVN REN TIS ESFIS Ce [Translation: in (L. in)

drunkenness/debauchery(L. crapula-ae, f.) she stood/stayed (It. stare) ; one (L. unus-a-um; It. un, uno,

una) I soften (L. mollesco-ere, to become soft or gentle); not (L. non) I reign (L. regno-are); Dis (Pluto);

you pass from state to state / go out (L. exeo-ire-li [ivi] -itum) here (Fr. ici)]

Z214 8ASEI CISVM PVTE TVL RANS HA TEC REPINE Ce [Translation: the vases (L. vas, vasis,

a utensil; It. vaso, m. pot, vessel, vase) the chariot (L. cisum-i) you obtain/posses ( L. potior-iri); I

carry/endure (L. toero-are) the kidneys (L. renes-um, m. pl.; It. rene, m.; Fr.rein, m.); she has wealth I

bury/ cover ( L. tego, tegere, texi, tectum); they got again / discovered (L. reperio, eperire, repperi,

repertum) here (Fr. ici)] See Panel 9, Z308 on Repin, repine.

Z224 ME LERI SFE LERI Ce SFE Ce AN CaSa MELE RVN [ Translation: my lords you join

together/sew (L. suo, suere, sui, sutum) the lords here (Fr. ici); you join together/sew (L. suo, suere, sui,

sutum) here, or whether (L. an) the house (L. casa); honey/sweetness (L. mel, mellis); ) I watch (It. ronda,

f; Fr. rond, adj. round, ring, circle, orb)

Panel 8 (five lines of text) Script ZC

Z234 MVTIN CF [words illegible] SI VFE [Translation: they move (L moveo, movere, movi, motum)

by what way? (L. qua) ...supposing that (L. si) you die/ leave (L. obeo-ire-ivi-itum)]

Z245 MERLVM IRI Ce ENAS SIN 8eLERE IN CRAP STI [Translation: to the blackbird(s) (It merlo

m.; L. merula-ae f.) of wrath (L. ira-ae, f.) here (Fr. ici); you escape (L. eno-are); if however (L. sin)

Velere in (L. in) rough cast (Fr. crpi) or alternatively, drunkenness/debauchery(L. crapula-ae, f.) she

stood/stayed (It. stare)]

Z255 KIS ESFIS Ce 8ASE SIN AIS ER 8ASE SIN [ Translation: the chaise/chair (It. chiesa, f. church;

Fr. chaise, f. chair, seat) you pass from state to state / go out (L. exeo-ire-li [ivi] -itum) here (Fr.ici); the

vase (It. vaso, m.; L. vas, vasis, a utensil) if however (L. sin) to the bronze (L. aes, aeris) I wander (L. erro-

are) of the vase (It. vaso, m.; L. vas, vasis, a utensil); if however/but if (L. sin)]

Z263 AIS CEM NAC 8ASE IN RAK Ce SVTANAS CELI [Translation: of the bronze (L. aes, aeris); I

lament (L. gemo, gemere, gemui, gemitum) the birth (L. nascor-i, to be born) of a vase (It. vaso, m.; L.

vas, vasis, a utensil) upon (L. in) I narrarate (Fr. raconter) here (Fr. ici); the cassocks/skirts (It. sottana,

f.) I hid (L. celo-are)]

Z272 SVR EIS NA PE FAK FINVM TRAV PRVKiS [Translation: the sister (L. soror; It. suora, f.;

Fr. soeur, f.); to them (L. eis, gen. & dat. they; It. essi, esse, them) truly (L. ne, nae) sometimes (L. per) I

wander (L. vagor-ari) of the wine (L. vinum-i) I draw in (L. traho, trahere, traxi, tractum); the

shameless/bold (L. procax-acis)

SCRIPT ZD

Panel 9 (5 lines of text) Script ZD

Z281 [line unreadable]

Z289 E CN SERI LECIN IN Ce 8ASIE HEM SIN CE [Translation: from (L. e, ex) CN I joined

together (L. sero, serere, seruui, sertum); they ordain (L. lego-are); in (L. in) here (Fr. ici); the vases (It.

vaso, m.; L. vas, vasis, a utensil); well, just look! (L. hem ) but if (L. sin) to us (It. ce)

Z290 SAC NI CI TRES CILeReS SPVRES TRES Ce [Translation: the sack/purse (L. sacculus-i, m.; It.

sacco, m.; Fr. sac, m.) unless/nor (L. ni, unless; Fr. ni, nor) which (L. quae or qua) the three (L. tres, tria);

you hasten (L. celero-are) you spit out (L. spuo, spuere, spui, sputum) three (L. tres, tria) here (Fr. ici)]

Note: See Z72 where SPVRES TRES shifts to SPVRES TREI.

Z300 ENAS ER RIE TIN SI TI VRIM AFILiS KIS [Translation: (repeated verse--see Z72, Z84,

panel 4) you escape (L. eno-are); I wander over/ err (L. ero-are) the things/matters; of the god Tin himself

(L. se, sese, sibi; It. si) to you/yours we speak /beg (L oro-are) you lived; the chaise/chair (It. chiesa, f.

church; Fr. chaise, f. chair, seat);] Note: See Z945-Z953 for a repetion of Z300 and Z308.

Z308 CISVM PVTE SVL RANS VR HARaR RI REPIN RIC [ Translation: of the two wheeled cart,

the chariot (L. cisium-i); you are in the possession of (L. potior-iri) alone (L. solus-a-ae) the kidneys (L.

renes-um, m. pl.; It. rene, m.; Fr.rein, m.) to rise / the edge (L. orior, oriri, ortus; ora-ae, rim, edge) ; to

hang on to (L. haereo, haerere, haesi, haesum) the things (L. res, rei); they get again (L. reperio) rich (It.

ricco; Fr. riche)See Z1825 with similar content continuing with SAC NI (Z317). See Z842 for rich vs veil

(L. rica-ae, f.).

Panel 10 (6 lines of text) Script ZD

Z317 SAC NI CLERI CILeR Le SPVRERIM E RIV MERI [Translation: the sack/purse (L. sacculus-i,

m.; It. sacco, m.; Fr. sac, m.) unless (L. ni, if not, unless; Fr. ni, nor) evident (L. clareo-ere; clarus-a-um)

to hasten (L. celero-are) there; we shall spue out (L. spuo, spuere, spui, sputum) from (L. e, ex) the

brook/stream ( L. rivus-i, m.; It. rio,m) I merited (L. mereo and mereor, to deserve, earn, merit)] Note:

This phrase is repeated at Z386.

Z327 ENAS RAKaR SVR NVN RENeR E TvNAM 8ARRAN [Translation: you escape (L. eno-are);

to recount/narrarate (Fr. raconter); of the sister (L. soror; It. suora f.; Fr. soeur, f.) not (L. non) to reign

(L. regno-ari); by/from (L. e, ex) the thunder (L. tono-are-ui-itum; It. tuono, m.; Fr. tonnerre.m.) they

shall change (L. vario-are)]

Z336 AIS ERAS SEVS CLETRAM SeREN CFE RAK Ce [Translation: to the bronze (L. aes, aeris)

you wander (L. erro-are); Zeus of the grating/trellis (L. clatro-orum, trellis); the serene (It. sereno, m.;

Fr. serein) you assemble together (L. coeo-ire-iv-itum); I raconte/narrarate (Fr. raconter) here (Fr. ici)]

Note: see Z5, Z1021, ZZ1846, Z1861 for the epithet, CLETRAM SeREN and Z1861 for the phrase

8ARRAN AIS ERAS SEVS CLETRAM SeREN CFE.

Z347 SVR NVN RENeR ES TREI AL ASEI (PHASEI) EIM TVL [Translation: to the sister (L.

soror; It. suora f.; Fr. soeur, f.) not (L. non) to reign (L. regno-ari) you are (L. es) three; to the (It. al)

bandages/swaddling bands (L. fascia-ae, f.; It. fascia, f.); herself (L. eum, eam, id, himself, herself, itself) I

carry/bear (L. tolero-are)]

Z357 FAR CELI SVR NVN RENeR EISER SIC SEV Ce [Translation: the grain (L. far, farris) I hid

(L. celo-are) of the sister (L. soror; It. suora f.; Fr. soeur, f.); not (L. non) to reign (L. regno-ari); to be

ejected/cast ashore (L. eicio-eicere-ieci-iectum) in this way (L. sic); or if (L. sive and seu) here (Fr. ici)]

Z369 [seven characters unreadable.. .NVN REN KIS ESFIS Ce 8AR [Translation: _ _ _ _ _ _ _not (L.

non) I reign (L. regno-are) to the chaise/chair (It. chiesa, f. church; Fr. chaise, f. chair, seat) you pass

from state to state / go out (L. exeo-ire-li [ivi] -itum) here (Fr. ici) I change (L. vario-are)]

Panel 11 (6 lines of text) Script ZD

Z378 CISVM PVTE TVL RAN SVR HARaR RI REPIN RIC[Translation: the chariot (L. cisum-i)

you obtain/posses ( L. potior-iri) I carry/endure (L. tolero-are) the kidney (L. renes-um, m. pl.; It. rene,

m.; Fr.rein, m.) of the sister (L. soror; It. suora f.; Fr. soeur, f.) to hang on to (L. haereo, haerere, haesi,

haesum) the things (L. res, rei); they get again (L. reperio) ) rich (It. ricco; Fr. riche)] Repeating verse;

see Z308, Z1825 for the HARaR RI REPIN RIC continuing with SAC NI (Z386); see Z1057 for the

phrase CISVM PVTE TVL RANS.

Z386 SAC NI CLERI CILeR Le SPVRERIM E RIV MERI [Translation: the sack/purse (L. sacculus-i,

m.; It. sacco, m.; Fr. sac, m.) unless (L. ni, if not, unless; Fr. ni, nor) evident (L. clareo-ere; clarus-a-um)

to hasten (L. celero-are) there; we shall spue out (L. spuo, spuere, spui, sputum) from (L. e, ex) the

brook/stream ( L. rivus-i, m.; It. rio,m) I merited (L. mereo and mereor, to deserve, earn, merit)] See

Z317, Panel 10 where this verse is repeated--the text is damaged.

Z396 ENAS SIN EISER SIC SEV Ce KIS ESFIS Ce [ you escape (L. eno-are) if however/but if (L.

sin) to be ejected/cast ashore (L. eicio-eicere-ieci-iectum) in this way (L. sic) or if (L. sive and seu) here

(Fr. ici); to the chaise/chair (It. chiesa, f. church; Fr. chaise, f. chair, seat) you pass from state (L. exeo-ire-

li [ivi] -itum) here (Fr. ici)]

Z405 8ASE SIN EISER 8ASE IS RAKaR SVTANAS [Translation: the vase (It. vaso, m.; L. vas,

vasis, a utensil); if however (L. sin) to be ejected/cast ashore (L. eicio-eicere-ieci-iectum) the vase (It. vaso,

m.; L. vas, vasis, a utensil) that thing (L. is, ea, id) to recount (Fr. raconter); the cassocks/skirts (It.

sottana, f.)]

Z412 CELI SVR FAC Le RESN IN RAK CRE SFE RAE [I hid (L. celo-are) of the sister (L. soror;

It. suora f.; Fr. soeur, f.) I make (L. facio, facere, feci, factum) there the resin (L.resina-ae, f.) upon (L. in)

I recount (Fr. raconter); you create (L. creo-are), you join together (L. suo, suere, sui, sutum) the accused

persons/defendants (L. rea-ae, f. reus-i, m.)]

Z421 HE Ce TAITeR VR CELI EP CaSa VR CE CITI TRINVM [Translation: you have here (Fr.

ici); the hideous (L. taeter-tra-trum) region (L. ora-ae, f.) I hid (L. celo-are); the god Ep of the house (L.

casa) of the region/boundaries (L. ora-ae, f.) to us (It. ce); whatsoever (L. quivis, quaevis, quidvis,

quodvis) three at a time (L. trin-ae-a)]

SCRIPT ZE

Panel 12 (6 lines of text) Script ZE

Z432 HETRN AC LaKA AIS CEM NAC TeRVR TRAKS RINVR [ Translation: the beech trees (Fr.

Htre) and also/indeed (L. ac, atque) he releases (L. Laxo-are) the bronze (L. aes, aeris) I lament (L.

gemo, gemere, gemui, gemitum) the birth (L. nascor-i, to be born); the ghastly/frightening object (L.

terror-oris, m.; It. adj. terreo) you pull up (L. traho, trahere, traxi, tractum); to be angry/snarl (l. ringor-

i)]

Z439 CITS FAC Le NVN RENeR ES AN TINeS RESAN [Translation: whatever (L. quivis, quaevis,

quidvis, quodvis) I do(L. facio, facere, feci, factum) there; not (L. non) to reign (L. regno-ari) you are (L.

es) or (It. an); you pay money (L. tinnio-ire) they reveal/unbolt (L. resero-are)]

Z446 EIS ERAS SEVS VNVM MvLAK NVN RENeR EI FITI [Translation: to them (L. eis, gen. &

dat. they; It. essi, esse, them) you wander (L. erro-are); Zeus we honor (L. honore-are); I soften/ am

gentle (L. mollesco-ere) not (L. non) to reign (L. regno-ari) woe (L. ei!) I trusted (L. fido, fidere, fissus

sum)]

Z455 8A FITI Ce 8ASEI CISVM RESANE VS LANE Ce [Woe! (L. vae!) or alternate, she goes (It.

va; Fr. va) I trusted (L. fido, fidere, fissus, sum) here (Fr. ici); the vases (L. vas, vasis, a utensil; It. vaso,

m. pot, vessel, vase) of the chariot (L. cisum-i); they unbolt reveal (L. resero-are) the bones / body (L. os,

ossis) of the wool (L. lana-ae, f.) here (Fr. ici)]

Z463 MvLAKE LVRI SERI Ce ARELIS SAC NI CaLA [ You soften/are gentle (L. mollesco-ere); the

straps, reins/ whips (L. lorum-i) you joined together (L. sero, serere, serui, sertum) here (Fr. ici); Arelis

(L. Aurelius-a-um, name of a Roman plebeian gens) of the sack/purse (L. sacculus-i, m.; It. sacco, m.; Fr.

sac, m.) unless (L. ni, unless; Fr. ni, nor) she calls (L. calo-are)]

Z470 CILeR Le SPVRA Le MERLVM ES Ce ENAS Ce LA RESAN [Translation: to hasten (L.

celero-are) there; she spues out (L. spuo, spuere, spui, sputum) there; to the blackbirds (It merlo m.; L.

merula-ae f.)fr. merle, m.) you are (L. es) here (Fr. ici); you escape (L. eno-are) here (Fr. ici); her (It. la)

they reveal/unbolt (L. resero-are)]

Panel 13 (5 lines of text) Script ZE

Z481 [line unreadable--contains many smudged characters]

Z489 SN RIV PHVR (VR) Ki EIS CESV ANI AK VRK 8ILiK FETRA [Translation: to SN to the river

(It. rio, m.; Fr. rivire, f., stream) I rage/am frantic (L. furo-ere) or alternatively, Rage, who (L. qui; It.

chi) to them (L. eis, gen. & dat. they; It. essi, esse, them) I cease (L. cesso-are) the years (L. annus-i) and

indeed (L. ac, atque) Orcus (L. Orcus-i, m. the infernal regions, underworld/the god of the

underworld/death); to the fruitful/ auspicious (L. felix-icis) the offspring (L. fetura-ae f.)]

Z500 HAM ES (PHES) ESFES TVRI RVI STRETER 8ACE [Translation: the bucket (L. hama,

bucket) old (L. fessus, old) you long for (L. esurio-ire) the towers (L. turris-is, f.; It. torre, f.; Fr. tour, f.)

of the king (Fr. roi, m.); Streter ( person's name) or alternatively to be bound (L. striongo, stringere,

strinxi, strictum; It. stretta, f. tightening, hold, grip) you are free from (L. vaco-are)]

Z508 APNIS ANI AK APNIM VRK PERE RENI N N RIY (PH) [Translation: you deny (L.

abnuo-nuere-nui) the years (L. annus-i) and indeed (L. ac, atque) we deny (L. abnuo-nuere-nui) Orcus (L.

Orcus-i, m. the underworld/the god of the unerworld/death); you perish (L. pereo-ire-li-ivi-itum, you

swam back (L. reno-nare) N N the river (It. rio, m.; Fr. rivire, f., stream) PH (abbreviation for Rage? see

Z489 above) Rage] Note: See Z1097 for PERE RENI.

Z516 8AS ERI (PHERI) E TvNAM LAETI ANCe RAK SIN [Translation: the vase/ utensil (L. vas.

vasis) of the lights (It. faro, m.; Fr. phare, m.) we wonder/we are inspired (L. attono-tonare-toni-tonitum,

to be stunned, inspired, frantic; Fr. tonner and s'tonneer; alternate: E TvNAM = from (L. e, ex) the

thunder (L. tono-are-ui-itum; It. tuono, m.; Fr. tonnerre.m.); you offended/violated (L. laedo, laedere,

laesi, laesum); alternate you rejoiced (L. laetor-ari); also ( It. anche) I recount/retell (Fr. raconter)

however/ but if (L. sin)]

SCRIPT ZF

Panel 14 (6 lines of text) Script ZF

Z522 REVS NVA CAPER Ce HE CI NAKFA TINRS SA [Translation: the accused person (L. reus-

im, m.) you renew (L. novo-are) the he-goat (L. caper-ri, m.) here (Fr. ici); you have of it/that, about it (It.

ci); she was born (L. nascor-i; It. nacque); she will pay money (L. tinnio-ire) herself (L. se, sese; It. se)]

Z530 ETeNAM FEL RINA Le E TeNAM AI SVNA Le RVN TEReS [Translation: we wonder/we

are inspired (L. attono-tonare-toni-tonitum, to be stunned, inspired, frantic; Fr. tonner and s'tonneer;

alternate: E TvNAM = from (L. e, ex) the thunder (L. tono-are-ui-itum; It. tuono, m.; Fr. tonnerre.m.);

the great(1) queen (L. regina,; It. reginna, f.; Fr. reine, f.) there; we wonder/we are inspired (L. attono-

tonare-toni-tonitum, to be stunned, inspired, frantic; Fr. tonner and s'tonneer), ai! (L. ai!) he/she

celebrates/sings (L. sono, sonare, sonnui, sonitum) there; I watch (It. ronda, f. rounds, watch, patrol; Fr.

rond, adj.) the perfect (L. tersus-a-um)]

Z540 IK SAC NI CaLA [Translation: hereupon (L. hic) the sack/purse (L. sacculus-i, m.; It. sacco, m.; Fr.

sac, m.) unless (L. ni, unless; Fr. ni, nor) she calls (L. calo-are)]

Z543 SARRVMvS NE LVSAN 8eLER HAM ISCA ( PHISCA) RE SERI [Translation: you (pl.)

brought forth not (L. ne; Fr. adv. ne) they illuminate (L. luceo, lucere, luxi) Velere; the bucket (L. hama,

bucket) of the treasury (L. fiscus-i, basket, money bag, treasury) the thing (L. res, rei) you joined together

(L. sero, serere, serui, sertum)]

Z551 LA IFISCA LYS TRIS 8eLER FAC Le TvNAM [ Translation: her (It. la) he disembowels (L.

eviscero-are); the light/life/hope (L. lux, lucis) of the sad/gloomy/bitter (L. tristise) Velere; I make/do/form

(L. facio, facere, feci, factum) there the thunder (L. tono-are-ui-itum; It. tuono, m.; Fr. tonnerre.m.)]

Z559 [line unreadable]

Panel 15 (4 lines of text) Script ZF

Z560 [line unreadable]

Z561 E TeNAM EIS NA IS 8eLER ES CRA ISTI [Translation: we wonder/we are inspired (L. attono-

tonare-toni-tonitum, to be stunned, inspired, frantic; Fr. tonner and s'tonneer; alternate: E TvNAM =

from (L. e, ex) the thunder (L. tono-are-ui-itum; It. tuono, m.; Fr. tonnerre.m.); to them (L. eis, gen. &

dat. they; It. essi, esse, them) truly (L. ne, nae) of/that person (L. is, ea, id); Veler you are (L. es) he/she

creates (L. creo-are) you (L. iste, ista, istud)] Note: For 8eLER see Z1423.

Z568 RVNS NA RVNS 8eLERS [Translation: you watched (It. ronda, f. rounds, watch, patrol; Fr. rond,

adj.) truly (L. ne, nae); you watched (It. ronda, f. rounds, watch, patrol; Fr. rond, adj.) Veleres]

Panel 16 (5 lines of text) Script ZF

Z572 ES LEM SARRVM IS ACA Le TINiS IN MAR LE [Translation: you are (L. es) the theme (L.

lemma) of the series/succession (It. srie f.; Fr. srie) or alternatively we bring forth (L. sero, serere, sevi,

satum) that person (L. is, ea, id) he/she summons (L. accio, ire, ivi, itum) there; you pay money (L. tinnio-

ire) in/towards (L. in) sea (L. mare-is) her (It. le, her)]

Z582 LVR TI RAK TVRE ACI CATI CAR LVR CELeRIM [Translation: ghastliness/paleness (L.

luror-oris, m.) of you/yours (L. tibi; It. ti) I speak/recount (Fr. raconter); you regard (L. tuor or tueor,

tueri, tuitus and tutus) you summoned/called (L. accio, ire, ivi, itum); to the people of Cato/Cati I am

absent from (L. careo-ere-u) the ghastliness/paleness (L. luror-oris, m.); we conceal (L. celo-are, to hide,

conceal, keep secret) Note: see Z500 on TVRI.

Z591 KIMI CVKIE ACIL HV NIS PAINIEM [ Translation: the summits/tops (It. cima, f.; Fr. cime, f.)

of the earthen pots (It. coccio, m.), the eagle (L. Aquila-ae) I have if not, unless (L. nisi) of Pania (town

near Chiusi)]

Z598 ANCe MARTIR SYLA Le [Translation: even like (It. anche) the witness/martyr (It. m. martire,

Fr. m. martyr) sole (L. solus-a-um) there]

Z603 [line unreadable]

SCRIPT ZG

Panel 17 (6 lines of text) Script ZG

Z605 [line unreadable]

Z606 CEIA HIA E TvNAM CIS FAC Le IRI NIFL RVI [Translation: because (L. quia) she

possessed/had power over (L habeo-ere-ui-itum); we wonder/we are inspired (L. attono-tonare-toni-

tonitum, to be stunned, inspired, frantic; Fr. tonner and s'tonneer; alternate: E TvNAM = from (L. e,

ex) the thunder (L. tono-are-ui-itum; It. tuono, m.; Fr. tonnerre.m.) in what manner (L. qui, quibus), I

make/do (L. facio, facere, feci, factum) there the wrath (L. ira-ae, f.) not at all (L. nihil, nil) of the king

(Fr. roi, m.)]

Z614 MALE CEIA HIA E TvNAM CIS FAC Le AIS FALE [Translation: of evil (L. malum-i, evil,

harm, disaster, punishement; adv. male, badly, ill); because (L. quia); she possessed/had power over; we

wonder/we are inspired (L. attono-tonare-toni-tonitum, to be stunned, inspired, frantic; Fr. tonner and

s'tonneer; alternate: E TvNAM = from (L. e, ex) the thunder (L. tono-are-ui-itum; It. tuono, m.; Fr.

tonnerre.m.) in what manner (L. qui, quibus), I make/do (L. facio, facere, feci, factum) there the bronze

(L. aes, aeris) you deceive (L. fallo, fallere, fefelli, falsum)]

Z622 MALE CEIA HIA TRINeR E TvNAM CIS ALE [Translation: of evil (L. malum-i, evil, harm,

disaster, punishement; adv. male, badly, ill); because (L. quia); she possessed/had power over Triner (L.

Trinacria-ae, f., Sicily/the triangular land; Gr. Thrinacia?) we wonder/we are inspired (L. attono-tonare-

toni-tonitum, to be stunned, inspired, frantic; Fr. tonner and s'tonneer; alternate: E TvNAM = from (L.

e, ex) the thunder (L. tono-are-ui-itum; It. tuono, m.; Fr. tonnerre.m.) in what manner (L. qui, quibus)

you nourish (L. alo, alere, alui, altum [for alitum])]

Z629 MALE CEIA HIA E TvNAM CIS FAC Le FILE FALE [Translation: of evil (L. malum-

i, evil, harm, disaster, punishement; adv. male, badly, ill) because (L. quia) she possessed/had power

over; we wonder/we are inspired (L. attono-tonare-toni-tonitum, to be stunned, inspired, frantic; Fr.

tonner and s'tonneer; alternate: E TvNAM = from (L. e, ex) the thunder (L. tono-are-ui-itum; It. tuono,

m.; Fr. tonnerre.m.) in what manner (L. qui, quibus), I make/do (L. facio, facere, feci, factum) there; the

daughter (L. filia-aef. It. figlia, f.; Fr. file f.) you deceive (L. fallo, fallere, fefelli, falsum)]

Z638 STAI LE STAI LE HIA CIS TRINeR ASA SAC NI TN [Translation: You stayed (It. stare, to

stand, to be, to stay, to lie, to sit, to go on, keep, to live, to last etc.); her (It. le); You stayed (It. stare, to

stand, to be, to stay, to lie, to sit, to go on, keep, to live, to last etc.); her (It. le); he/she possessed/had

power over; in what manner (L. qui, quibus) Triner (L. Trinacria-ae, f., Sicily/the triangular land; Gr.

Thrinacia?) she takes to her own (L. ascio-scire) of the sack/purse (L. sacculus-i, m.; It. sacco, m.; Fr. sac,

m.) unless (L. ni, unless; Fr. ni, nor) of the god Tin]

Panel 18 (6 lines of text) Script ZG

Z648 AN CILeR CEK ANE SALSV CIFA 8IRIN NAR [Translation: or/whether (L. an) to

accelerate/hasten (L. celero-are) some/any/whatever (It. checche; Fr. quelque) of the year (L. annus, anni)

the salt/wit (L. salsus-a-um) she eats (It. cibare, vt.) of men (L. vir, viri) ; I make known (L. narro-are)]

Z656 FAKiR CEVS CILeR CFA Le SFEM CEPEN TVTIN [Translation: to wander (L. vagor-ari)

the empty void (L. Chaos) to accelerate/hasten (L. celero-are) there; we are accustomed (L. suemus, pl. as

from sueo) they chop/seperate (It. m. ceppo; Fr. cep, m., branches/stump/bonds; L. separo-are, to

separate, to part) they guard (L. tuto-are, to protect, watch, keep; Transf. to guard against)]

Z665 REN Ki SVA E TvNAM CEPEN CEREN SVCI Ce 8IRIN [ Translation: I reign over (L.

regno-are) whom (It. chi) of hers/it (It. sua, suo); we wonder/we are inspired (L. attono-tonare-toni-

tonitum, to be stunned, inspired, frantic; Fr. tonner and s'tonneer; alternate: E TvNAM = from (L. e,

ex) the thunder (L. tono-are-ui-itum; It. tuono, m.; Fr. tonnerre.m.); they chop/seperate (It. m. ceppo; Fr.

cep, m., branches/stump/bonds; L. separo-are, to separate, to part); they bewail/complain of (L. queror,

queri, questos) the comrades (L. socius-a-um) here (Fr. ici) of the men (L. vir, viri)]

Z674 TE SIM E TvNAM CE LVCVM CAITIM CAPER KFA [Translation: you I am (L. sim); we

wonder/we are inspired (L. attono-tonare-toni-tonitum, to be stunned, inspired, frantic; Fr. tonner and

s'tonn