Piraeus Lion

File:Arsenale (Venice) - First Ancient Greek lion.jpg

The Piraeus Lion ({{langx|it|Leone del Pireo}}) is one of four lion statues on display at the Venetian Arsenal, Italy, where it was displayed as a symbol of Venice's patron saint, Saint Mark. The statue is made of white marble and stands some 3 m (9 ft.) high. It is particularly noteworthy for two lengthy runic inscriptions on its shoulders and flanks; these were likely carved by Scandinavians sometime in the 11th century AD.Kendrick, Thomas D. (2004). [https://books.google.com/books?id=3Z8NgXgRytUC A History of the Vikings]. Courier Dover Publications. p. 176. {{ISBN|0-486-43396-X}}

History

It was originally located in Piraeus harbour of Athens. It was looted by Venetian naval commander Francesco Morosini in 1687 as plunder taken in the Great Turkish War against the Ottoman Empire, during which the Venetians captured Athens and Morosini's cannons caused damage to the Parthenon that was matched only by his subsequent sack of the city.Encyclopædia Britannica, Athens, The Acropolis, p.6/20, 2008, O.Ed. Copies of the statue can also be seen at the Piraeus Archaeological Museum and the Swedish History Museum in Stockholm.

The lion was originally sculpted in about 360 BC,Cornelius Vermeule, "Greek Funerary Animals, 450-300 B. C.", American Journal of Archaeology 76:1:49-59 (January 1972), {{JSTOR|503610}}, p. 53 and became a famous landmark in Piraeus, Athens, having stood there since the 1st or 2nd century AD. Its prominence was such that the port eventually became referred to in Italian as {{lang|it|Porto Leone}} ("Lion Port") as the port's original name ceased to be used.Goette, Hans Rupprecht (2001), [https://books.google.com/books?id=FRHY3zWyrcEC Athens, Attica and the Megarid: An Archaeological Guide]. Routledge. p. 141. {{ISBN|0-415-24370-X}} It is depicted in a sitting pose, with a hollow throat and the mark of a pipe (now lost) running down its back; this suggests that it was at some point used as a fountain.Ellis, Henry (1833). [https://books.google.com/books?id=1K_TIaJxo8EC The British Museum. Elgin and Phigaleian Marbles]. British Museum. p. 36. This is consistent with the description of the statue from the 1670s, which said that water flowed from the lion's mouth into a cistern at its feet.{{Cite journal |last=Jarring |first=Gunnar |title=Evliya Celebi och Marmorlejonet från Pireus |journal=Fornvännen |volume=85 |pages=1–4 |publisher=Swedish National Heritage Board |year=1978 |url=http://fornvannen.se/pdf/1970talet/1978_001.pdf |issn=1404-9430 |accessdate=5 September 2010}}.

In the second half of the 11th century, two runic inscriptions were carved onto the lion.Kendrick, Thomas D. (2004). [https://books.google.com/books?id=3Z8NgXgRytUC A History of the Vikings]. Courier Dover Publications. p. 176. {{ISBN|0-486-43396-X}} The runes are carved in the shape of an elaborate lindworm dragon-headed scroll, in much the same style as on runestones in Scandinavia."The Book of THoTH (Leaves of Wisdom) — Dragon" (notes), URL: [http://www.book-of-thoth.com/thebook/index.php/Dragon BT-Dragon] {{webarchive|url=https://web.archive.org/web/20080325220622/http://www.book-of-thoth.com/thebook/index.php/Dragon |date=25 March 2008 }}. According to Erik Brate's translation of the runes, they state they were carved by "suiar", or the Swedes. The Vikings who carved the runes on the lion could have been Varangians, mercenaries in the service of the Byzantine (Eastern Roman) Emperor, or Vikings who travelled from Scandinavia around Europe’s Atlantic coastline.

Inscriptions and translations

File:Pireuslejonet.jpg. The runes on the lion tell of Swedish Varangians, mercenaries in the service of the Byzantine (Eastern Roman) Emperor.]]

File:6003 - Venezia - Arsenale - Scritta runica su leone greco (1040) - Foto Giovanni Dall'Orto, 3-Aug-2007.jpg File:Lion runes drawing.jpg

The inscriptions were not recognised as runes until the Swedish diplomat Johan David Åkerblad identified them at the end of the 18th century. They are in the shape of a lindworm (a flightless dragon with serpentine body and two or no legs) and were first translated in the mid-19th century by Carl Christian Rafn, the Secretary of the Kongelige Nordiske Oldskrift-Selskab (Royal Society of Nordic Antiquaries).{{Cite book |last=Rafn |first=Carl Christian |authorlink=Carl Christian Rafn |contribution=En Nordisk Runeindskrift i Piræus, med Forklaring af C. C. Rafn |title=Antiquarisk Tidsskrift: Udgivet af det Kongelige Nordiske Oldskrift-Selskab 1855-57 |year=1857 |pages=3–69 |url=https://books.google.com/books?id=7khBAAAAYAAJ}} The inscriptions are heavily eroded due to weathering, making many of the individual runes barely legible. This has required translators to reconstruct some of the runes, filling in the blanks to determine what words they represented.

There have been several attempts to decipher and translate the text. Below follow Rafn's early attempt (1854) and Eric Brate's attempt (1914), which is considered to be the most successful one.Pritsak, Omeljan. (1981). The Origin of Rus'. Cambridge, Mass.: Distributed by Harvard University Press for the Harvard Ukrainian Research Institute. p. 348. {{ISBN|0-674-64465-4}}

Rafn's translation

Rafn's attempt is as follows, with the legible letters shown in bold and the reconstructed ones unbolded: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, 1902Rafn, Carl Christian (1856). "Inscription runique du Pirée - Runeindskrift i Piraeeus", Impr. de Thiele

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 : LAGÞU : A : UK : HARADR : HAFI : UF IABUTA : UPRARSTAR : VEGNA : GRIKIAÞIÞS : VARÞ : DALKR : NAUÞUGR : I : FIARI : 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.

Some have tried to trace Harald Hardrada's name on the inscription, but the time it was carved does not coincide with his time in the service of the emperor.Heath, Ian (1985). [https://books.google.com/books?id=aEyQe18JWvUC The Vikings] Osprey Publishing. {{ISBN|0-85045-565-0}}

Erik Brate's translation

Erik Brate's interpretation from 1914 is considered to be the most successful one.

: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]

:roþrslanti b[yku] -

:a sun iuk runar þisar.

:ufr uk - li st[intu]

:a[t haursa]

:kul] uan farn

: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

::Þorlæifʀ (Þorleifr)

:had them well cut, they who lived

:in Roslagen. [N. N.] son of [N. N.]

:cut these runes.

:Ulfʀ (Úlfr) and [N. N.] colored them

:in memory of Horsi.

:He won gold in his travels.

In popular culture

In God of War: Ghost of Sparta, the Piraeus Lion appears as a live creature and mini-boss that Kratos faces, being a huge lion with several arrows in its mane, it have much more in common with the Nemean Lion.

Literature

Sven B. F. Jansson, "Pireuslejonets runor", Nordisk Tidskrift för vetenskap konst och industri, utgiven av Letterstedtska Föreningen. Stockholm (1984).
Andrea C. Snow, "Transmuted: Reconciling the Medieval Scandinavian Marking of the Piraeus Lion." Viator 53, no. 2 (2022): 179–214.