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This paper addresses the colouring of carved inscriptions in antiquity and of the importance of colouring in conveying meaning, context and content, through the seven colours of the Messenger Goddess Iris and her rainbow, preceding and distinct from, the later Messenger God Hermes in black and white. The ancient Greeks knew the sacred texts as coloured and of the associations to be made with particular colours. Surviving examples of coloured inscriptions from Anatolia and of the support (for colour) applied within the cuttings of an inscription are given, to draw attention to the use of colour, this because a sign/ γραφή/graphē, conveys meaning through both its shape, and its colour, hence epigraphy is or rather should be concerned with both. It suggests that emphasis, recognition and rhetorical relationships were established through the use of certain colours and colour combinations that together formed an integral part of the reading of the text in Antiquity, in addition to colour’s importance for the finished appearance and legibility of the inscription. The colour of the signs forming inscriptions were renewed, and the loss of evidence of colouring, consequent upon cleaning the stone to take an ‘epigraphic’ cast or squeeze, has led to the erasure of meaning, evidence of colour removed to leave shadows on the stone.

phaselis: disiplinlerarası akdeniz araştırmaları dergisi

Not just the Shadows on the Stone: the Greek, Lycian and Roman Craft of Encaustica and the Polishing of Coloured Inscriptions, that is, of Grapho and its Study - Epigraphy