Public honours for an unknown person and artist's signature
created: Transcription from previous editors and commentators (CDL).
source date: Probably first half of second century BC
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. 185, whence [...], 26.1825; [...], pp. 353-355, whence [...], 35.1716 (= [...], pp. 175-177); [...], pp. 397-398, whence [...], 60.1826; [...], p. 195, n. A.19; [...], n. 12, whence [...], 64.2012 [...] 077100.

Κυραναῖοι Ἄριστις Ταβαλβιος ἐπόησε.

Κυραναῖοι[^a1]

[^a1: Κυραναῖοι | Κυραναῖοι | Κυραναῖοι | Κυραναῖοι]

La statue de a été érigée par les Cyrénéens.

Oeuvre d'Aristis fils de Tabalbis.

The statue of was set up by the Cyrenaeans.

Made by Aristis son of Tabalbis.

La statua di fu eretta dai Cirenei.

Opera di Aristis figlio di Tabalbis.

All lines on this stone had been edited as one and the same inscription by [...].

The artist's signature at l. 2 of our edition (= l. 5 of IRCyr2020 C.446) was ascribed to the Hellenistic stage by [...], a point of which Reynolds was not quite convinced. This line, slightly differing in lettering and spacing from the other ones as it is usual in artist's signatures, could easily be associated with the rest when the whole was re-inscribed and when it became one line among the others. In the first use, the line with Κυραναῖοι was the last one of the main text, so that only the upper lines of the second inscription had to be cut in the slightly sunk area resulting of the erasure. The signature might of course have been cut into a vacat below at any time, but its lettering seems Hellenistic and more similar to that of Κυραναῖοι than to the Roman dedication (so also [...]).

Additional commentary to the second edition: the photograph now available confirms fully Gasperini's opinion.