What is the Piraeus Lion and where is it currently located?

The Piraeus Lion is a marble statue of a lion, standing approximately 3 meters (9 feet) high, that is one of four such statues displayed at the Venetian Arsenal in Italy. It was originally located in Piraeus harbor, Athens, and serves as a symbol of Venice's patron saint, Saint Mark.

What is the Italian name for the Piraeus Lion?

The Italian name for the Piraeus Lion is Leone del Pireo.

What does the Piraeus Lion symbolize in its current location at the Venetian Arsenal?

At the Venetian Arsenal, the Piraeus Lion is displayed as a symbol of Venice's patron saint, Saint Mark.

What material is the Piraeus Lion statue made of, and what are its approximate dimensions?

The Piraeus Lion is sculpted from white marble and stands approximately 3 meters (9 feet) high.

Who is identified as the artist of the Piraeus Lion, and when was it sculpted?

The artist of the Piraeus Lion is unknown, and the statue was sculpted around 360 BC.

What unique feature does the Piraeus Lion possess on its shoulders and flanks?

The Piraeus Lion is particularly noteworthy for two lengthy runic inscriptions carved onto its shoulders and flanks.

Who is believed to have carved the runic inscriptions on the Piraeus Lion, and in what century did this likely occur?

The runic inscriptions were likely carved by Scandinavians, possibly Vikings or Varangians, sometime in the 11th century AD.

Describe the Piraeus Lion as depicted in the image accompanying the article.

The image shows a large, light-colored marble statue of a lion standing on a plinth. Visible carvings are present on its body, and it is currently located at the Venetian Arsenal.

Where was the Piraeus Lion originally situated before being moved to Venice?

The Piraeus Lion was originally located in the harbor of Piraeus, which is the port city of Athens, Greece.

Who was responsible for looting the Piraeus Lion from Piraeus, and during which conflict was it taken?

The Piraeus Lion was looted by the Venetian naval commander Francesco Morosini in 1687. This occurred during the Great Turkish War, fought between Venice and the Ottoman Empire.

What significant damage occurred to the Parthenon during the Venetian capture of Athens in 1687?

During the Venetian capture of Athens in 1687, Francesco Morosini's cannons caused damage to the Parthenon, an event matched in severity only by his subsequent sack of the city.

Besides the Venetian Arsenal, where else can copies of the Piraeus Lion statue be seen?

Copies of the Piraeus Lion statue can also be found at the Piraeus Archaeological Museum and the Swedish History Museum in Stockholm.

How long had the Piraeus Lion been a landmark in Piraeus before its removal, and what impact did its prominence have on the port's name?

The statue had stood as a famous landmark in Piraeus since the 1st or 2nd century AD. Its prominence was so great that the port eventually became known in Italian as Porto Leone, meaning 'Lion Port,' as the original name fell out of use.

What physical characteristics of the Piraeus Lion suggest it might have served a functional purpose beyond decoration?

The statue is depicted in a sitting pose with a hollow throat and a visible mark where a pipe once ran down its back. These features suggest that the lion may have been used as a fountain at some point.

What historical description from the 1670s supports the theory that the Piraeus Lion functioned as a fountain?

A description from the 1670s stated that water flowed from the lion's mouth into a cistern located at its feet, supporting the idea that it was used as a fountain.

In what specific way were the runic inscriptions on the Piraeus Lion carved, and what did they resemble?

The runes are carved in the shape of an elaborate scroll, styled like a lindworm, which is a type of dragon characterized by a serpentine body and either two legs or no legs. This style is similar to that found on runestones in Scandinavia.

Who first identified the markings on the Piraeus Lion as runes, and when did this identification take place?

The markings were not recognized as runes until the late 18th century when the Swedish diplomat Johan David Åkerblad identified them.

Who was the first person to translate the runic inscriptions on the Piraeus Lion, and what organization was he associated with?

The runic inscriptions were first translated in the mid-19th century by Carl Christian Rafn, who was the Secretary of the Kongelige Nordiske Oldskrift-Selskab (Royal Society of Nordic Antiquaries).

What condition are the runic inscriptions in, and what challenge does this present for translation?

The runic inscriptions are heavily eroded due to weathering, making many individual runes difficult to read. This necessitates that translators reconstruct some of the runes by filling in missing parts to determine the intended words.

According to Carl Christian Rafn's 1854 translation, who carved the runes on the right side of the lion, and what was the context of their actions?

Rafn's translation states that Asmund, Asgeir, Thorleif, Thord, and Ivar cut the runes on the right side of the lion at the request of Harold the Tall. It also notes that the Greeks considered and forbade their actions.

What does Rafn's translation suggest about the actions of Hakon and his companions on the left side of the lion?

Rafn's translation indicates that Hakon, along with Ulfr, Asmud, Örn, and Harold Hafi, conquered the port. They imposed a heavy fine on the Greek people due to a revolt and detained a person named Dalk captive in far lands.

What expedition is mentioned in Rafn's translation involving Egil and Ragnar?

According to Rafn's translation, Egil was on an expedition with Ragnar into Romania and Armenia.

While Harald Hardrada's name has been suggested in connection with the inscriptions, why is this association unlikely according to the text?

Although some have attempted to find Harald Hardrada's name in the inscription, the text notes that the time the runes were carved does not align with the period of his service to the Byzantine Emperor, making the connection improbable.

Why is Erik Brate's 1914 interpretation of the runic inscriptions considered the most successful?

Erik Brate's interpretation from 1914 is considered the most successful attempt at deciphering and translating the runic inscriptions on the Piraeus Lion.

What does Erik Brate's translation reveal about the actions taken against someone, and who performed these actions?

Brate's translation states, 'They cut him down in the midst of his forces.' It also mentions that warriors cut runes and hewed them into an ornamental scroll.

According to Erik Brate's translation, who were the 'Swedes' mentioned in relation to the lion?

Brate's translation indicates that 'The Swedes set this on the lion,' and further details that warriors, including Æskell (Áskell) and Þorleifr, who lived in Roslagen, cut the runes. It also suggests that Ulfr (Úlfr) and others colored the runes.

What does Erik Brate's translation say about Horsi?

Brate's translation mentions that the runes were cut 'in memory of Horsi, a good warrior,' and that he 'went his way with good counsel, gold he won in his travels.' It also states that Ulfr and others colored the runes in memory of Horsi.

What specific regions are mentioned in relation to Ragnar's expedition in Erik Brate's translation?

Erik Brate's translation mentions that Egil was on an expedition with Ragnar into Romania and Armenia, consistent with information found in Rafn's translation.

What related historical or archaeological topics are listed in the 'See also' section of the article?

The 'See also' section lists the Berezan' Runestone, Greece Runestones, Italy Runestones, Runic inscriptions in Hagia Sophia, and Chinese guardian lions.

Which authors and publications are cited in the 'Literature' section concerning the Piraeus Lion?

The 'Literature' section cites Sven B. F. Jansson's article 'Pireuslejonets runor' in Nordisk Tidskrift (1984) and Andrea C. Snow's article 'Transmuted: Reconciling the Medieval Scandinavian Marking of the Piraeus Lion' in Viator (2022).

What is the significance of the runic inscriptions on the Piraeus Lion?

The runic inscriptions are significant because they provide evidence of Scandinavian presence and activity in Greece during the 11th century. They offer insights into the activities of Swedish Vikings or Varangians, possibly mercenaries serving the Byzantine Empire, detailing their actions and possibly commemorating individuals like Horsi.

How did the Piraeus Lion become associated with Venice?

The Piraeus Lion was looted from Piraeus harbor in Athens by the Venetian naval commander Francesco Morosini in 1687 during the Great Turkish War. It was taken as plunder and subsequently displayed at the Venetian Arsenal.

What does the term Porto Leone refer to in relation to the Piraeus Lion?

Porto Leone is the Italian name for the port of Piraeus, which translates to 'Lion Port.' This name became common because the Piraeus Lion statue was such a prominent landmark there for centuries.

What is a lindworm as mentioned in the context of the Piraeus Lion's inscriptions?

A lindworm is a mythical creature described as a flightless dragon with a serpentine body and either two legs or no legs. The runic inscriptions on the Piraeus Lion are carved in the shape of such a creature.

What does the phrase 'suiar' likely refer to in the context of the runic inscriptions?

According to Erik Brate's translation, 'suiar' refers to the Swedes. This suggests that the Vikings who carved the runes were likely of Swedish origin.

What role did Varangians potentially play concerning the Piraeus Lion's inscriptions?

The Vikings who carved the runes could have been Varangians, who were mercenaries often in the service of the Byzantine (Eastern Roman) Emperor. This indicates a possible connection between Scandinavian warriors and the Byzantine sphere of influence in the region.

What challenges arise when translating the runic inscriptions due to their condition?

The runic inscriptions are heavily eroded by weathering, making many individual runes barely legible. This requires translators to reconstruct parts of the text, inferring the missing letters or symbols to understand the complete message.

What is the significance of the 'ornamental scroll' mentioned in Erik Brate's translation?

The 'ornamental scroll' refers to the artistic style in which the runes were carved on the lion. Brate's translation notes that the warriors 'hewed them in an ornamental scroll,' indicating a decorative or elaborate carving style, similar to that found on Scandinavian runestones.

How does the Piraeus Lion connect ancient Greek sculpture with medieval Scandinavian history?

The Piraeus Lion is an ancient Greek marble sculpture dating to around 360 BC. However, it gained a unique historical layer when 11th-century Scandinavians carved runic inscriptions onto it, blending ancient artistry with medieval Norse culture and language.

Piraeus Lion Wiki: The Piraeus Lion: A Viking Enigma in Marble

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Overview

Ancient Greek Origin

The Piraeus Lion is a significant marble statue originating from ancient Greece, sculpted circa 360 BC. It stands approximately 3 meters (9 feet) in height. For centuries, it served as a prominent landmark in the harbor of Piraeus, Athens, lending its name to the port, which became known in Italian as Porto Leone ("Lion Port").^[4]^[5]

Venetian Symbolism

Currently, the statue is displayed at the Venetian Arsenal in Italy. It was brought to Venice in 1687 by the naval commander Francesco Morosini as war plunder. In its Venetian context, the lion statue became associated with Saint Mark, the patron saint of Venice, symbolizing the city's power and maritime heritage.^[2]

Functional Design

The statue depicts a lion in a seated posture. Notably, it features a hollow throat and a channel running down its back, suggesting it was originally designed as a functional fountain. Historical accounts from the 1670s describe water flowing from the lion's mouth into a cistern at its feet, highlighting its dual role as art and engineering.^[5]^[6]

Historical Journey

Athenian Origins

The Piraeus Lion was originally sculpted around 360 BC and stood sentinel in the harbor of Piraeus, Athens, from at least the 1st or 2nd century AD. Its presence was so defining that the port itself eventually adopted the name "Lion Port" in Italian, Porto Leone, eclipsing its original Greek designation.^[4]

Venetian Conquest

During the Great Turkish War, Venetian naval commander Francesco Morosini led the campaign against the Ottoman Empire. In 1687, following the capture of Athens, Morosini seized the Piraeus Lion as significant plunder. This act marked the statue's transition from an Athenian landmark to a trophy of Venetian military success.^[2]

Voyage to Venice

After its acquisition, the statue was transported to Venice. It was subsequently placed on display at the Venetian Arsenal, a historic shipyard and naval base, where it remains a notable exhibit, symbolizing Venice's historical connection to classical antiquity and its military prowess.^[1]

Runic Enigmas

Discovery and Identification

The presence of runic inscriptions on the Piraeus Lion was not recognized until the late 18th century. It was the Swedish diplomat Johan David Åkerblad who first identified these markings as runes, sparking scholarly interest in their origin and meaning.^[7]

Scandinavian Carvings

The runes are believed to have been carved in the 11th century AD by Scandinavians, likely Swedes or Vikings serving as mercenaries (Varangians) in the Byzantine Empire. The inscriptions are stylistically elaborate, resembling the ornate lindworm designs found on Scandinavian runestones.^[1]^[8]

Condition and Interpretation

The inscriptions are significantly eroded by time and weather, rendering many individual runes difficult to decipher. This necessitates careful reconstruction and interpretation by scholars, presenting a considerable challenge in accurately translating the ancient text.^[10]

Deciphering the Runes

Rafn's Early Attempt (1854)

Carl Christian Rafn, Secretary of the Royal Society of Nordic Antiquaries, made one of the earliest comprehensive attempts to translate the runes. His interpretation, based on reconstructed letters, offers insight into the activities of Scandinavians in the region.

Right side of the lion:

ASMUDR : HJU : RUNAR : þISAR : ÞAIR : ISKIR : AUK: ÞURLIFR : ÞURÞR : AUK : IVAR : AT : BON : HARADS : HAFA : ÞUAT : GRIKIAR : UF : HUGSAÞU : AUK : BANAÞU :

Asmund cut these runes with Asgeir and Thorleif, Thord and Ivar, at the request of Harold the Tall, though the Greeks considered about and forbade it.

Left side of the lion:

HAKUN : VAN: ÞIR : ULFR : AUK : ASMUDR : AUK : AURN : HAFN : ÞESA : ÞIR : MEN : LAÞU : A : UK : HARADR : HAFI : UF IABUTA : UPRARSTAR : VEGNA : GRIKIAÞES : VARÞE : DALKR : NAUÞUGR : I : FARI : LAÞUM : EGIL : VAR : I : FARU : MIÞ : RAGNARR : TIL : RUMANIU . . . . AUK : ARMENIU :

Hakon with Ulf and Asmund and Örn conquered this port. These men and Harold Hafi imposed a heavy fine on account of the revolt of the Greek people. Dalk is detained captive in far lands. Egil is gone on an expedition with Ragnar into Romania and Armenia.

Note: Legible letters are bolded; reconstructed letters are unbolded. ^[11]^[12]

Brate's Refined Interpretation (1914)

Erik Brate's translation is considered the most successful, providing a more nuanced understanding of the runes, identifying the carvers as Swedes and mentioning specific individuals and their actions.

Original Runic Text (Brate's reconstruction):

hiuku þir hilfninks milum
hna en i hafn þesi þir min
eoku runar at haursa bunta
kuþan a uah
riþu suiar þita linu
fur raþum kul uan farin
-
tri(n)kiar ristu runar
[a rikan strin]k hiuku
þair isk[il-] [þu]rlifr
-
litu auka ui[i þir a]
roþerslanti b[yku] -
a sun iuk runar þisar.
ufr uk - li st[intu]
at haursa
kul] uan farn

English Interpretation:

They cut him down in the midst of his forces. But in the harbor the men cut runes by the sea in memory of Horsi, a good warrior. The Swedes set this on the lion. He went his way with good counsel, gold he won in his travels.
The warriors cut runes, hewed them in an ornamental scroll. Æskell (Áskell) [and others] and Þorleifr (Þorleifr) had them well cut, they who lived in Roslagen. [N. N.] son of [N. N.] cut these runes. Ulf (Úlf) and [N. N.] colored them in memory of Horsi. He won gold in his travels.^[10]

Scholarly Context

While Brate's translation is widely accepted, attempts have been made to link the name "Harald" in the inscriptions to Harald Hardrada, a famous Viking king. However, the dating of the inscriptions does not align with Hardrada's known activities, suggesting these interpretations require careful historical consideration.^[13]

Related Context

Comparative Artifacts

The Piraeus Lion is not the only artifact bearing runic inscriptions from this period and region. Scholars often compare it with other significant finds:

Berezan' Runestone
Other Greece Runestones
Italy Runestones
Runic inscriptions in Hagia Sophia

These artifacts provide crucial insights into the presence and activities of Scandinavians across the Byzantine Empire and beyond.^[1]

Visual Resources

For visual documentation of the Piraeus Lion and its inscriptions, including detailed photographs and drawings, the Wikimedia Commons repository offers extensive resources. These materials are invaluable for detailed study and comparison.

View Media on Wikimedia Commons

Scholarly Works

Key Publications

The study of the Piraeus Lion and its inscriptions has been documented in several important academic publications. These works provide the foundation for understanding its historical and linguistic significance:

Jansson, Sven B. F. (1984). "Pireuslejonets runor". Nordisk Tidskrift för vetenskap, konst och industri.
Snow, Andrea C. (2022). "Transmuted: Reconciling the Medieval Scandinavian Marking of the Piraeus Lion." Viator, 53(2), 179–214.

These texts offer detailed analyses and contribute to the ongoing scholarly discourse surrounding this unique artifact.^[1]

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References

A. Craig Gibson, "Runic Inscriptions: Anglo-Saxon and Scandinavian", in Transactions of the Historic Society of Lancashire and Cheshire, p. 130. Historic Society of Lancashire and Cheshire, 1902

A full list of references for this article are available at the Piraeus Lion Wikipedia page

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This page has been generated by an Artificial Intelligence, drawing upon information from Wikipedia and related sources. It is intended for educational and informational purposes only. While efforts have been made to ensure accuracy and comprehensiveness based on the provided source material, it may not be entirely accurate, complete, or up-to-date.

This content does not constitute professional historical, archaeological, or linguistic advice. The information presented is not a substitute for consultation with qualified experts. Users should not rely solely on this content for academic research or critical decision-making. The creators of this page are not responsible for any inaccuracies, omissions, or actions taken based on the information provided.

The Piraeus Lion

💡 Dive in with Flashcard Learning! 💡

Overview 🏛️

🗿 Ancient Greek Origin

⚜️ Venetian Symbolism

⛲ Functional Design

Historical Journey ⏳

🏛️ Athenian Origins

⚔️ Venetian Conquest

🚢 Voyage to Venice

Runic Enigmas 🖋️

🧐 Discovery and Identification

🇸🇪 Scandinavian Carvings

weathered Condition and Interpretation

Deciphering the Runes 🗣️

📜 Rafn's Early Attempt (1854)

📖 Brate's Refined Interpretation (1914)

🤔 Scholarly Context

Related Context 🌍

🔗 Comparative Artifacts

🖼️ Visual Resources

Scholarly Works 📚

📖 Key Publications

Teacher's Corner 🧑‍🏫

Edit and Print this course in the Wiki2Web Teacher Studio

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References

📜 References

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Disclaimer ⚠️

📜 Important Notice

Dive in with Flashcard Learning!

Overview

Ancient Greek Origin

Venetian Symbolism

Functional Design

Historical Journey

Athenian Origins

Venetian Conquest

Voyage to Venice

Runic Enigmas

Discovery and Identification

Scandinavian Carvings

Condition and Interpretation

Deciphering the Runes

Rafn's Early Attempt (1854)

Brate's Refined Interpretation (1914)

Scholarly Context

Related Context

Comparative Artifacts

Visual Resources

Scholarly Works

Key Publications

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Disclaimer

Important Notice