Zagreb Mummy Translation, Etruscan Phrases

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 abbé Ljubic. The mummy still stood in the museum, but the bandages had been removed to the abbé'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 abbé 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. étonner and s'étonner). 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 CLETRAMSeREN 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 8ARRANAIS ERASSEVS 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 CVSCLVCECAPERISAM TI CeSFEMRVM 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 MATANCLVTRASHILAR [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.

A rough reading of these scripts follows:

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

...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).

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

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

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

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

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

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

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

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

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

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

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

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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
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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

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

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

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

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

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
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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

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
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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

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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

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

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

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
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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

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

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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
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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

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

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

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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

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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.........

....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

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

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?)

.....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

......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

........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

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.

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

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. prière; 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--_MVS 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

Z-1 (fabric tear/missing word) R E TvNAM TE SIM E TvNAMT(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 CeMVTINVMAN ANCFISNAC 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 RESIFAC LeAN 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 RENEMARAMNA KFE AEKiSMVLE [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 TRIN8eLERE 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. crépi) or alternatively, drunkenness/debauchery (L. crapula-ae, f.) she stood/stayed (It. stare)]

Z54 VNMvLAK NVN RENeRAC Le RIIRI RIECIA 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 TREIENAS 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 KISCISVMRVTETVLRANI [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 RIMERIVME 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

Z103 ERvR SETIN SI TI VRIMAFILSKISEC [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 CeTEC8eLER 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 CeME LERISFE LERI CeSFE [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 MELERVNMVTIN 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]

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. crépi) 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 AMSeREN 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

Z180 AL ØASEI (PHASEI ) CLETRAMSeREN 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 RAKaRTVR NVN RENeR 8ASI CN TRAM EITVL [ 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 INCRAP 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 8ASEICISVM PVTE TVL RANS HA TECREPINE 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 LERISFE LERI CeSFE CeAN 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)

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 ENASSIN8eLERE 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. crépi) or alternatively, drunkenness/debauchery(L. crapula-ae, f.) she stood/stayed (It. stare)]

Z255 KIS ESFIS Ce8ASE SINAIS ER 8ASESIN [ 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 AISCEM NAC 8ASE IN RAK CeSVTANASCELI [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 TRAVPRVKiS [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)

Z289 E CN SERI LECIN IN Ce8ASIEHEM 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 SITI 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.

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

Etruscan_Phrases

Translation of the

The Zagreb Mummy Script

by Mel Copeland

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

About the Translation

About the Mummy

A rough reading of these scripts follows:

Panel 1, Fragment

Panel 3

Panel 4

Panel 6

Panel 8

Panel 4 (six lines of text) Script ZA

SCRIPT ZB

SCRIPT ZC

Etruscan_Phrases

Translation of the

The Zagreb Mummy Script

by Mel Copeland

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

About the Translation

About the Mummy

A rough reading of these scripts follows:

Panel 1, Fragment

Panel 3

Panel 4

Panel 6

Panel 8

Panel 4 (six lines of text) Script ZA

SCRIPT ZB

SCRIPT ZC

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