Name of a Rhodian
created: Transcription from editors (HB).
source date: 500/450
language: ar; en; fr; de; grc; grc-Latn; el; he
availability: CC BY-NC-SA 4.0 Deed Attribution-NonCommercial-ShareAlike 4.0 International License. All citation, reuse or distribution of this work must contain a link back to DOI: https://doi.org/10.60760/unibo/igcyrgvcyr2 and the filename (IGCyr000000 or GVCyr000), as well as the year of consultation. (https://creativecommons.org/licenses/by-nc-sa/4.0/)

[...], p. 168, n. 976 (ph. dr.); [...], pp. 252-253, number 1; [...], pp. 20-23, whence [...], 60.1848; [...] 001920. Cf. [...], pp. 69-70; [...], pp. 45-46 and [...] 2017.638; [...], pp. 165-166.

Ἀρχένβροτ [...][...]

Ἀρχένβροτ [...][^a1]

[^a1: Ἀρχένβροτ [...] | αρχηνβα | αρψηνβα | Αρχην Βακαλ | αρχηνβ]

Arkhembrotos[...].

Archembrotos[...].

Archembrotos[...].

For this graffito, no convincing explanation was given before S.M. Marengo's one: she rightly pointed out that it could be read only with the trident-shape letter as a chi and eta as a short e, both attested in the archaic lettering of Rhodes, the more so that such a reading produces a typical Rhodian name. The use of nu instead of mu before beta is a hypercorrect feature, as well as the use of eta instead of epsilon.

It cannot be decided whether the graffito was cut in Rhodes and brought to Cyrenaica or cut in Cyrenaica by a Rhodian traveller. In both cases, the vase, a Laconian ware, had travelled more or less through the Mediterranean sea (contra [...]). As to the script, the present use of trident-shaped chi in a Rhodian context should be compared with two other examples found at Cyrene: in IGCyr110100 the rest of the lettering is purely Cyrenaean, whereas IGCyr000430 is too fragmentary to allow any classification.

The name, when complete, might have been at the genitive case for an owner's mark or at the nominative for a dedicant's name, so that the exact text-type escapes us.