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The Rosetta Stone is a fragment of a larger stele. No additional fragments were found in later searches of the Rosetta site.[9] Owing to its damaged state, none of the three texts is complete. The top register, composed of Egyptian hieroglyphs, suffered the most damage. Only the last 14 lines of the hieroglyphic text can be seen; all of them are broken on the right side, and 12 of them on the left. Below it, the middle register of demotic text has survived best; it has 32 lines, of which the first 14 are slightly damaged on the right side. The bottom register of Greek text contains 54 lines, of which the first 27 survive in full; the rest are increasingly fragmentary due to a diagonal break at the bottom right of the stone.[10]
Work on the stone now focused on fuller understanding of the texts and their contexts by comparing the three versions with one another. In 1824 Classical scholar Antoine-Jean Letronne promised to prepare a new literal translation of the Greek text for Champollion's use. Champollion in return promised an analysis of all the points at which the three texts seemed to differ. Following Champollion's sudden death in 1832, his draft of this analysis could not be found, and Letronne's work stalled. François Salvolini, Champollion's former student and assistant, died in 1838, and this analysis and other missing drafts were found among his papers. This discovery incidentally demonstrated that Salvolini's own publication on the stone, published in 1837, was plagiarism.[O] Letronne was at last able to complete his commentary on the Greek text and his new French translation of it, which appeared in 1841.[P] During the early 1850s, German Egyptologists Heinrich Brugsch and Max Uhlemann produced revised Latin translations based on the demotic and hieroglyphic texts.[Q][R] The first English translation followed in 1858, the work of three members of the Philomathean Society at the University of Pennsylvania.[S]
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Even before the Salvolini affair, disputes over precedence and plagiarism punctuated the decipherment story. Thomas Young's work is acknowledged in Champollion's 1822 Lettre à M. Dacier, but incompletely, according to early British critics: for example, James Browne, a sub-editor on the Encyclopædia Britannica (which had published Young's 1819 article), anonymously contributed a series of review articles to the Edinburgh Review in 1823, praising Young's work highly and alleging that the "unscrupulous" Champollion plagiarised it.[77][78] These articles were translated into French by Julius Klaproth and published in book form in 1827.[N] Young's own 1823 publication reasserted the contribution that he had made.[L] The early deaths of Young (1829) and Champollion (1832) did not put an end to these disputes. In his work on the stone in 1904 E. A. Wallis Budge gave special emphasis to Young's contribution compared with Champollion's.[79] In the early 1970s, French visitors complained that the portrait of Champollion was smaller than one of Young on an adjacent information panel; English visitors complained that the opposite was true. The portraits were in fact the same size.[50]
- Temperament in the 19th century Douglas Leedy