Abstract
When illustrating printed editions, neo-hioglyphic inscriptions are usually accompanied by a translation. But what if the translation is lacking, as is usually the case with inscriptions on monuments or paintings? The visitor or viewer becomes a decipherer, trying to find a solution to the riddles posed by neo-hioglyphic inscriptions. The funerary monument of Hubert Mielemans (Eglise Sainte-Croix, Liège, ca. 1558-1560) is a case in point, with its two columns of inscriptions. Although direct evidence is still lacking, there is little doubt as to the involvement of Liège artist Lambert Lombard (1505-1566). Having spent almost a year and a half perfecting his skills in Italy, Lombard liberally sprinkled neo-heroglyphs throughout his works. The study of the latter provides an opportunity to re-examine the question of the boundary between neo-hieroglyphic inscriptions (transposable into a natural language) and "inscriptions" for decorative purposes or indexical of a certain image of Egypt (without the possibility of transposition). In the absence of the preparatory draft that must necessarily have existed, the deciphering we can propose of the inscriptions on Hubert Mielemans' tomb will always remain an attempt. The interpretation suggested here is based on the sources available at the time of composition, and follows the principles of redaction attested elsewhere.
