Генри Райдер Хаггард - She: A History of Adventure стр 9.

The general convenience in reading, I have here accurately transcribed this inscription into the cursive character.

μενρτας, το βασικο γνους το Αγυπτου, το Καλλικρτους σιδος ερως, ν ο μν θεο τρφουσι τ δ δαιμονια ποτσσεται, δη τελευτσα Τισισθνει τ παιδ πιστλλει τδε· συνφυγον γρ ποτε κ τς Αγυπτας π Νεκτανβου μετ το σο πατρς, δι τν ρωτα τν μν πιορκσαντος. φυγντες δ πρς ντον διαπντιοι κα κʹδʹ μνας κατ τ παραθαλσσια τς Αιβης τ πρς λου νατολς πλανηθντες, νθαπερ πτρα τις μελλη, γλυπτν μοωμα Αθοπος κεφαλς, ετα μρας δʹ π στματος ποταμο μεγλου κπεσντες, ο μν κατεποντσθημεν, ο δ νσ πεθνομεν· τλος δ π λρων νθρπων φερμεθα δι λων τε κα τεναλων νθαπερ πτηνν πλθος ποκρπτει τν ορανν, μρας , ως λθομεν ες κολν τι ρος, νθα ποτ μεγλη μν πλις ν, ντρα δ περονα· γαγον δ ς βασλειαν τν τν ξνους χτραις στεφανοντων, τις μαλεα μν χρτο πιστμη δ πντων κα δ κα κλλός κα μην λρως ν· δ Καλλικρτους το πατρς ρασθεδα τ μν πρτον συνοικεν βολετο μ δ νελεν· πειτα, ς οκ νπειθεν, μ γρ περεφλει κα τν ξνην φοβετο, πγαγεν μς π μαγεας καθʹ δος σφαλερς νθα τ βραθρον τ μγα, ο κατ στμα κειτο γρων φιλσοφος τεθνες, φικομνοις δʹ δειξε φς το βου εθ, οον κονα λισσμενον φνην ντα καθπερ βροντς, ετα δι πυρς βεβηκυα βλαβς κα τι καλλων ατ αυτς ξεφνη. κ δ τοτων μοσε κα τν σν πατρα θνατον ποδεξειν, ε συνοικεν ο βολοιτο μ δε νελεν, ο γρ ον ατ νελεν σχυεν π τν μεδαπν ν κα ατ χω μαγεας. δʹ οδν τι μλλον θελε, τ χερε τν μμτων προσχων να δ τ τς γυναικς κλλος μ ρη· πειτα ργισθεσα κατεγοτευσε μν ατν, πολμενον μντοι κλουσα κα δυρμνη κεθεν πνεγκεν, μ δ φβ φκεν ες στμα το μεγλου ποταμο το ναυσιπρου, πδδω δ ναυσν, φʹ νπερ πλουσα τεκν σε, ποπλεσασα μλις ποτ δερο θηνζε κατηγαγν. σ δ, Τισσθενες, ν πιστλλω μ λιγρει· δε γρ τν γυνακα ναζητεν ν πως τ βου μυστριον νερς, κα ναιρεν, ν που παρασχ, δι τν πατρα Καλλικρτους. ε δ φοβομενος δι λλο τι ατς λεπει το ργου, πσι τος στερον ατ τοτο πιστλλω, ως ποτ γαθς τις γενμενος τ πυρ λοσασθαι τολμσει κα τ ριστεα χων βασιλεσαι τν νθρπων· πιστα μν δ τ τοιατα λγω, μως δ ατ γνωκα οκ ψευσμην.

The English translation was, as I discovered on further investigation, and as the reader may easily see by comparison, both accurate and elegant.

Besides the uncial writing on the convex side of the sherd at the top, painted in dull red, on what had once been the lip of the amphora, was the cartouche already mentioned as being on the scarabaeus, which we had also found in the casket. The hieroglyphics or symbols, however, were reversed, just as though they had been pressed on wax. Whether this was the cartouche of the original Kallikrates,[5] or of some Prince or Pharaoh from whom his wife Amenartas was descended, I am not sure, nor can I tell if it was drawn upon the sherd at the same time that the uncial Greek was inscribed, or copied on more recently from the Scarab by some other member of the family. Nor was this all. At the foot of the writing, painted in the same dull red, was the faint outline of a somewhat rude drawing of the head and shoulders of a Sphinx wearing two feathers, symbols of majesty, which, though common enough upon the effigies of sacred bulls and gods, I have never before met with on a Sphinx.

Also on the right-hand side of this surface of the sherd, painted obliquely in red on the space not covered by the uncial characters, and signed in blue paint, was the following quaint inscription:

IN EARTH AND SKIE AND SEA

STRANGE THYNGES THER BE.

HOC FECIT

DOROTHEA VINCEY.

Perfectly bewildered, I turned the relic over. It was covered from top to bottom with notes and signatures in Greek, Latin, and English. The first in uncial Greek was by Tisisthenes, the son to whom the writing was addressed. It was, I could not go. Tisisthenes to his son, Kallikrates. Here it is in fac-simile with its cursive equivalent: ΟΥΚΑΝΔΥΝΑΙΜΗΝΠΟΡΕΥΕСΘΑΙΤΙСΙСΘΕΝΗС

ΚΑΛΛΙΚΡΑΤΕΙΤΩΙΠΑΙΔΙ

οκ ν δυναμην πορεεσθαι. Τισισθνης Καλλικρτει τ παιδ.

This Kallikrates (probably, in the Greek fashion, so named after his grandfather) evidently made some attempt to start on the quest, for his entry written in very faint and almost illegible uncial is, I ceased from my going, the gods being against me. Kallikrates to his son. Here it is also:

ΤΩΝΘΕΩΝΑΝΤΙΣΤΑΝΤΩΝΕΠΑΥΣΑΜΗΝΤΗΣΠΟΡΕΙΑΣΑΛΛΙΚΡΑΤΗΣΤΩΙΠΑΙΔΙ

τν θεν ντιστντων παυσμην τς πορεας. Καλλικρτης τ παιδ.

Between these two ancient writings, the second of which was inscribed upside down and was so faint and worn that, had it not been for the transcript of it executed by Vincey, I should scarcely have been able to read it, since, owing to its having been written on that portion of the tile which had, in the course of ages, undergone the most handling, it was nearly rubbed out was the bold, modern-looking signature of one Lionel Vincey, Ætate sua 17, which was written thereon, I think, by Leos grandfather. To the right of this were the initials J. B. V., and below came a variety of Greek signatures, in uncial and cursive character, and what appeared to be some carelessly executed repetitions of the sentence τ παιδ (to my son), showing that the relic was religiously passed on from generation to generation.