During the British occupation of the western extremity of the Gallipoli Peninsula, a brief Greek inscription was discovered by Sergt.-Major R. S. Jones, 136 Company, Royal Engineers. A copy of this he sent to his relatives in Cardiff, and it was by them put before the Western Mail for explanation. Ultimately it came into my hands. I at once wrote asking what had become of the stone, and what was its position—whether above or below ground—when discovered But Sergt.-Major Jones (...) had been killed by a shell on December 27, 1915, eleven days after writing his letter, and only two days after he had been recommended for the Distinguished Conduct Medal. Further information, therefore, was not obtainable; but the inscription appears to have been hitherto unknown. It is a splendid thought that we owe this new historical information to the interest and care of a soldier in the midst of perilous and toilsome duties. His commanding officer wrote that he was ‘my right-hand man ever since the company was formed at Buxton.’. (shrink)

The recent discovery in Bahrain of a Greek inscription, dating to the 120s BC, transforms our understanding of the Arab-Persian Gulf in the Hellenistic period. The inscription, recording the dedication of a shrine to the Dioskouroi on behalf of the first independent king of Characene, indicates that Bahrain was a garrisoned node within the Seleucid Empire and the centre of the previously unknown archipelagic administrative district . Seleucid and Characenian control of Bahrain is placed within the longue durée political (...) history of relations between southern Mesopotamia and Dilmun. The cultic dedication to the Dioskouroi traces the consciously Hellenizing modalities of Characenian emancipation from the Seleucid Empire and the development of a coherent maritime religious network in the Gulf. (shrink)

This article offers a re-examination of the theoi (‘gods’) heading which appears regularly on inscriptions in the ancient Greek world. Long noted, the heading has also long been passed over, often considered so formulaic as to lack much significance. This paper explores the consequences of taking theoi seriously as a reference to the divine, by investigating the function and meaning of the heading in the classical period. It makes use of two case studies, the financial building inscriptions (...) from the Athenian Akropolis and the epigraphic corpus from Oropos, to set out the most important characteristics of the formula. By placing the theoi heading in a broader context of other types of divine formula found on inscriptions, and by paying particular attention to the crucial aspect of the heading’s non-specificity, this article contends that the theoi or theos formula should not be understood as a prayer or appeal to the gods. Instead, it is a statement of presence of the divine and a recognition of divine power. (shrink)

In 130 ce, Hadrian and Sabina traveled to Egyptian Thebes. Inscriptions on the Memnon colossus document the royal visit, including fifty-four lines of Greek verse by Julia Balbilla, an elite Roman woman of Syrian heritage. The poet's style and dialect have been compared to those of Sappho, although the poems' meter and content are quite different from those of her archaic predecessor. This paper explores Balbilla's Memnon inscriptions and their social context. Balbilla's archaic forms and obscure mythological (...) variants showcase her erudition and allegiance to a Greek past, but while many of the Memnon inscriptions allude to Homer, Balbilla aligns herself closely with Sappho as a literary model. The main question raised here is what it means for Julia Balbilla to imitate Sappho while simultaneously honoring her royal patrons in the public context of dedicatory inscriptions. (shrink)