The Lettering of an Athenian Mason
This book combines two functions, as a technical handbook for training epigraphists to recognize an individual mason's hands, and a social study of a skilled artisan in Hellenistic Athens (referred to as "B"), a native of Salamis who worked in Athens and at Delphi. The methodology developed by the author to isolate 28 out of hundreds of inscriptions as the work of "B" represents a major step forward in the assigning of fragments to individual masons, previously a very impressionistic exercise.
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26 note açı addition Agora Excavations alpha Archon Archons of Athens Athenian Athens Attic attribution B's lettering blank spaces century B.C. chisel clause column correct crossbar cutter decrees Delphi dittography entry ephebic epheboi epigraphical epigraphists epsilon in line erased letters erasure error FD III Fragment of white Greek guidelines Hand haplography Height of letters Hellenistic Hesperia horizontal stroke incised indicates infra inscriptions interline iota joins kappa Kerameikos KO.L lambda Larfeld large letters left side letter height letter shapes letter strokes letter styles letter-cutter line 15 Line 20 Line 51 margin names nomen number of lines omega omikron omission omitted originally inscribed patronymic perfect design PIate Piraeus preserved probably Prytaneis Pytha1s rasura reveal Salamis seems serif appears sigma slanting stroke small letters stele stone supra vertical strokes white marble width
Page 82 - in the shift from the end of one line to the beginning of the next. Line
Page 3 - Notes on Lettering by Some Attic Masons in the Sixth and Fifth Centuries BC,
Page 7 - but a glance at Hondius' photograph will shew that the hand is altogether much more irregular, much less beautiful
Page 85 - They illustrated both of the methods of cutting, as well as a combination of the two, in which they first made the straight strokes by method one
Page 10 - are here published for the first time with the kind permission of the
Page 113 - Epigraphists seem agreed that the stonecutter did not produce direct freehand lettering with his chisel, but followed lines drawn or written beforehand.
Page xii - CH Kraeling, ed., Gerasa, City of the Decapolis, New Haven, 1938, pp.
Page 113 - A letterer whom we have consulted in a near-by city clearly finds any other process, now or ever, unthinkable.
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