greek inscription

Εἰκὼν ἡ λίθος
εἰμί. Τίθησί με
Σείκιλος ἔνθα
μνήμης ἀθανάτου
σῆμα πολυχρόνιον.

Ὅσον ζῇς φαίνου
μηδὲν ὅλως σὺ λυποῦ
πρὸς ὀλίγον ἐστὶ τὸ ζῆν
τὸ τέλος ὁ χρόνος ἀπαιτεῖ.

Σείκιλος Εὐτέρ[πῃ]


Seikilos Epitaph (c. 1st century CE)

“I am an image, a stone. Seikilos placed me here: a long-lasting token of undying memory.

While you live, shine.
By no means at all grieve.
Life exists only for a short while:
Time requires its completion.

Seikilos for Euterpe.”


Theater of Aspendos

Aspendos, Pamphylia, Turkey

161-180 CE

96 m. diameter

12,000 seatings

A statue of the building’s architect, Zeno, stands in the south parodos. The inscription under the statue records the thanks of the people for the gift of the theatre and says that Zeno was given a large garden near the stadium for his work. Inscriptions in Greek and Latin on either side of the skene read that the wealthy brothers Curtius Crespinus and Curtius Auspicatus built the theatre and dedicated it to “the Gods of the Country and the Imperial House.” In the 3rd century AD a parapet was built between the orchestra and the cavea to protect the audience from gladiatorial and wild animal shows.


The Earliest Greek Alphabet, Cyprus, c. 800 BC

The tablets are in Greek on copper, consisting of 2 tablets with 20-23 lines in archaic Greek capitals with some North Semitic (Phoenician) letter forms, written by 2 or more scribes. This is the oldest European alphabet, the oldest writing tablets extant, and part of the world’s oldest book in codex form. A third tablet originally bound with the present ones is housed at the University of Würzburg, Martin-von-Wagner-Museum; a fourth is owned by a private collector. The codex originally consisted of at least 5 tablets.

The tablets were made in Cyprus but were excavated in Fayum, Egypt. The alphabet on the plaques is now called the Fayum alphabet and the earliest Greek manuscript extant. It is an alphabet table that is contemporary with Homer and an amazing preservation of students’ learning of the Greek alphabet at the very inception of its use. Apart from the present manuscript, the oldest Greek inscription of any length is the Dipylon oinochoe from Athens, c. 740 BC.

Ancient Roman glass cup, with an inscription in Greek, ΛΑΒΕ ΤΗΝ ΝΙΚΗΝ (”Seize the victory”), surrounded by wreaths and palm branches.  Artist unknown; early 1st cent. CE (Augustan period).  Now in the Walters Art Museum, Baltimore.  Photo credit: Walters Art Museum.

~Grave stele with family portraits and with a Greek inscription from Thessalonica.
Medium: Marble
Date: A.D. 2nd century— A.D. 3rd century
Provenance: Istanbul, Archaeological Museum

Inscription (from the source): CΤΡΑΤΙωΤΗC

Translated: Aelius Julianus, the soldier, [made this tomb] in memory of his brother Crispus, father and mother and sisters and brother still living.”

Photograph of Greek inscription at the Bollingen “Tower” of C.G. Jung; the inscription itself dates to 1950.

The central figure is Homunculus-Mercurius-Telesphorus, wearing a hooded cape and carrying a lantern. He is surrounded by a quaternary Mandala of alchemical significance, with the top quarter dedicated to Saturnus, the bottom quarter to Mars, the left quarter to Sol-Jupiter (“male”) and the right quarter to Luna-Venus (“female”). The Greek inscription translates to approximately:
“Aion (Time, Eternity, the Eon) is a child at play, gambling; a child’s is the kingship. Telesphorus ("the Accomplisher”) traverses the dark places of the world, like a star flashing from the deep, leading the way to the Gates of the Sun and the Land of Dreams"

Time is a child at play, gambling; a child’s is the kingship is a fragment attributed to Heraclitus.

to the Gates of the Sun and the Land of Dreams is a quote of the Odyssey (24.11), referring to Hermes the psychopomp leading the spirits of the slain suitors away.

               ΛΗ [♄] ΙΗ  
ΤΕΛΕΣ                             ΦΟΡΟΣ  
ΔΙΕΛΑΥ                           ΝΩΝ.ΤΟ  
 ΥΣ.ΣΚ                           ΟΤΕΙΝ  
 [☉ ♃]            [☿]            [♀ ☾] ΟΥΣ
ΚΟΣΜΟΥ.                         ΤΟΠΟΥ
Σ.ΚΑΙ.ὩΣ.                          ΑΣΤΗΡ.
ΑΝΑΛ              ΑΜΠΩ         Ν.ΕΚ.ΤΟ
Υ.ΒΑ             ΘΟ [♂] ΥΣ.      ὉΔ
                  ΗΓΕΙ   ΠΑΡ᾽

Roman Glass Beaker with Greek Inscription, c. 1st Century AD

Made from greenish-transparent glass, this small beaker or cup features several decorative bands including a wreath pattern, and near the base, a row of chevrons. Below the wreath, an inscription in Greek suggests the beaker’s festive function: “rejoice and be merry.”

To create this beaker, the glassmaker used a three-piece mold. Because the seam of the mold was not completely tight, some of the molten glass seeped out of the mold. As was common practice, the glassmaker incorporated the mold mark into the design in order to better conceal it. The Romans introduced the technique of inflating glass into molds in the early first century AD and this technique has been used continuously in glassmaking centers around the Mediterranean.

anonymous asked:

Hi, have you got any headcannons about the actual cabins at camp halfblood and what they all look like on the inside?

Of course I do. Thanks for asking. Hmm lets see :

  • The Zeus cabin is like its described in the books. Empty with a statue of Zeus but if you look closely Ancient Greek inscriptions (which are faded due to age) are carved into the wall. No one can decipher them because they are too mixed up but when the door is open and the light hits the wall you can see them glowing like sunlit freshly fallen snow.
  • The Hera cabin is pretty much the same. Her ceiling, however, is carved with Peacocks. The Zeus and Hera cabins are the same in all other aspects.
  • The Poseidon cabin, aside from looking like its made out of a rock from the sea is beautiful on the inside. It’s painted in shades of blue and green so it looks like waves are shimmering whenever light pours in from the windows. Some old coral plants are still in the stone so they add bursts of colour and add to the undersea effect. Unknown to many there is a trapdoor leading to a small cavern and a pool of freshwater underneath the cabin. It continues with an underground tunnel to the beach.
  • The Demeter cabin looks like its weaved out of vines. So many layers of plants cover it that you can’t tell that it’s actually made out of brick. The temperatures are self controlled to the needs of the campers so it basically has its own heater and air conditioner of sorts. There aren’t any plants inside (to avoid bugs) but the entire cabin is painted in Earthly colours. Shades of browns and gold. The roof has a special way of harnessing solar light to power the cabin (since its safe energy) despite its lack of solar panels
  • The Ares cabin isn’t the nicest out of all the cabins but it isn’t that body. It looks awful on the outside (and inside) but the beds are compressible. The walls open and close to make cabinets in which campers keep their belongings. It’s basically like Army barracks. (Use less space to fit more stuff). There’s a hidden cabinet in which all the battle/ambush plans that all the campers made are stored. (These came very handy during the two wars).
  • The Athena cabin is practically lined with bookshelves. Pretty much like the library in Beauty and the Beast. The cabin even has several underground floors to accommodate more books. The most important and valuable ones are kept in a magic safe deep underground with charms to protect the elements from harming them. In one of the below floors there’s even a complete strategics room to plan battle attacks. The ceiling is inscribed with Greek letters and words which only the Athena cabin can decipher. It’s a lullaby that, when the campers read before going to sleep, makes them feel Athena is singing it. (This is very comforting to the younger Athena kids). No one knows how but a couple of olive branches grow across the room. The interesting thing is they cross the parts of the walls where realistic owls are painted (so it looks like owls are perched on the branches). The walls are also covered with some hand made posters like “Remember to Eat” or “Time for Bed”. (They are mostly for Annabeth).
  • The Apollo cabin looks like its made of pure gold but its campers have no trouble seeing it. Inside it there are musical notes on the walls and a self playing harp. Different instruments and archery materials are decorated around the place. A Greek healing spell is written all around the cabin which is said to prevent disease and illness from entering. There is a small library of books which the Apollo campers own which are specifically about medical remedies, archery tricks and music. The walls are engraved with poetry by famous poets in Greek (so as to make it easier for the campers to read). A small fountain (which never overflows) is at the very back of the cabin filled with olive oil. The campers use it whenever they have a stuffy nose or get small cuts or scrapes while training.
  • The Artemis cabin isn’t very fancy. The ceiling is enchanted to change its image as the stars and moon change every night. It smells like pine cones inside (and the walls and floor are lined with pine wood too). It is lightly painted with a colour that makes it look as if moon beams are shining across the walls. The carpets are animal skins which the Huntresses bring from their hunts. The quilts on the beds are also made of animal fur.
  • The Hephaestus cabin looks like a workshop on the outside. On the inside its actually not as messy as one might think. There is a place for everything and everything is mostly in place. There is a workshop underneath the cabin for those campers who can’t sleep at night and need to tinker. Most of the beds fold up and unknown to the other cabin campers there are rooms underneath the actual cabin. The rooms consist of decent sized cubicles (sort of like a dorm) in which the campers sleep. The walls (decorated with carvings of fire) shift and behind them layers of tools are hung up. The temperature is maintained internally so the campers are never too hot or too cold.
  • At first sight the Aphrodite cabin looks like a typical doll house with hung up curtains and perfect paint. It actually is a lot more than that. It has (aside from trunks for the campers to keep their things in), a few walk in closets with clothes that are for any occasion. (That’s mostly where the extra clothes for campers without it comes from). Different rooms are present underground in which the Aphrodite campers do whatever they want. (Interior designing and sewing are the most selected options). Besides that lots of books are also on the floors underneath. Some focus on tips for staying healthy and makeup and stuff but 90% of them are for discovering yourself and your inner beauty. The walls are covered in motivational posters about beauty since Aphrodite is not just about physical attractiveness.
  • The Hermes cabin looks like a typical camp cabin from the inside. With wood ceilings and floors. Besides the dozens of beds and mattresses spread out there isn’t room for a lot of things. However, the Hermes campers can open a secret panel and go to separate rooms when they feel too constricted. (There are plenty of pranking items stored underneath the floorboards of the cabin too although only the Hermes campers know it). The little decoration the campers have set up are assorted posters and drawings and crafts. It makes the cabin look the most ‘normal’ out of all of the others.
  • Like the Demeter cabin, the Dionysus cabin is covered in vines. Grape vines and creeper to be exact. The inside is purple. Everything is made of wood with purple and green accents. The carpet is a leopard skin rug. On the shelves are different books on the topic of mental illnesses such as Anxiety, Depression, Insomnia etc. There is also a small fridge behind one of the walls to keep juices of all sorts since the Dionysus kids have an odd craving for fruit juices. (Not necessarily grape).

I hope these are okay. I’m not satisfied but ah well.

I really like the idea of there being panels and trapdoors and underground rooms in the cabins. So I decided to incorporate my idea. I know most of the rooms are underground but come on ? They wouldn’t be up in the sky now would they ?

By the way the thing about olive oil (Apollo cabin HC) is true. If you use it on small scrapes and bruises or bug bites it actually works. It also clears out your nose if its stuffy cuz of colds and stuff. I recommend using it since it gives you a good alternative to medicine which contains chemicals.

I don’t mind doing some for the minor cabins I someone requests them. 

(Minor God Cabins)

I feel as if some of the ones I did are redundant. Thoughts ?

Hope you like them anyway.


The Rosetta Stone

A valuable key to deciphering ancient Egyptian hieroglyphs, the inscription on the Rosetta Stone is a decree passed by a council of priests. It is one of a series that affirm the royal cult of the 13-year-old Ptolemy V on the first anniversary of his coronation (in 196 BC).

In previous years the family of the Ptolemies had lost control of certain parts of the country. It had taken their armies some time to put down opposition in the Delta, and parts of southern Upper Egypt, particularly Thebes, were not yet back under the government’s control. Before the Ptolemaic era (before about 332 BC), decrees in hieroglyphs such as this were usually set up by the king. It shows how much things had changed from earlier times that the priests, the only people who had kept the knowledge of writing hieroglyphs, were now issuing such decrees. The list of good deeds done by the king for the temples hints at the way in which the support of the priests was ensured.

The decree is inscribed on the stone three times, in hieroglyphic (suitable for a priestly decree), demotic (the native script used for daily purposes), and Greek (the language of the administration). The importance of this to Egyptology is immense.

Soon after the end of the 4th century AD, when hieroglyphs had gone out of use, the knowledge of how to read and write them disappeared. In the early years of the 19th century, scholars were able to use the Greek inscription on this stone as the key to decipher them. Thomas Young (1773–1829), an English physicist, was the first to show that some of the hieroglyphs on the Rosetta Stone wrote the sounds of a royal name, that of Ptolemy.

The French scholar Jean-François Champollion (1790–1832) then realised that hieroglyphs recorded the sound of the Egyptian language and laid the foundations of our knowledge of ancient Egyptian language and culture. Champollion made a crucial step in understanding ancient Egyptian writing when he pieced together the alphabet of hieroglyphs that was used to write the names of non-Egyptian rulers. He announced his discovery, which had been based on analysis of the Rosetta Stone and other texts, in a paper at the Academie des Inscriptions et Belles Lettres at Paris on Friday 27 September 1822. The audience included his English rival Thomas Young, who was also trying to decipher Egyptian hieroglyphs. Champollion inscribed this copy of the published paper with alphabetic hieroglyphs meaning ‘à mon ami Dubois’ ('to my friend Dubois’). Champollion made a second crucial breakthrough in 1824, realising that the alphabetic signs were used not only for foreign names, but also for the Egyptian language and names. Together with his knowledge of the Coptic language, which derived from ancient Egyptian, this allowed him to begin reading hieroglyphic inscriptions fully.

Soldiers in Napoleon’s army discovered the Rosetta Stone in 1799 while digging the foundations of an addition to a fort near the town of el-Rashid (Rosetta). On Napoleon’s defeat, the stone became the property of the British under the terms of the Treaty of Alexandria (1801) along with other antiquities that the French had found.

The Rosetta Stone has been exhibited in the British Museum since 1802, with only one break. Towards the end of the First World War, in 1917, when the Museum was concerned about heavy bombing in London, they moved it to safety along with other, portable, 'important’ objects. The Rosetta Stone spent the next two years in a station on the Postal Tube Railway 50 feet below the ground at Holborn.

Find out more in this BBC podcast about the Rosetta Stone.

King Silko’s Silver Crown, 5th Century AD

This silver crown comes from the necropolis of Ballana situated south of Abu Simbel, the site is today submerged by the waters of Lake Nasser. The tomb in which the crown was found, without doubt, is that of a local potentate judging by the abundance and quality of the material uncovered in the 1930s by W.B. Emery. It falls within the category of culture called X-Group (or Ballana Culture) which developed after the breakup of the Empire of Meroë into small kingdoms or principalities. This period is between the end of the 4th century and the beginning of the 6th century AD.

The individual whose corpse was adorned with this crown was probably one of the kings of these small principalities who succeeded the domination of the kings of Meroë. It could be identified as Silko, dating back to the 5th century, who was proclaimed in a Greek inscription within the temple of Kalabsha, “King of Nobatae and all of Ethiopians”. The crown still includes a set of representations from a repertoire directly inspired from ancient Egyptian iconography; however, its symbol and its form are no longer Egyptian.

The crown is composed of two parts, a diadem and a crest. The diadem is decorated with a frieze of Horus falcons between two rows of small squares and circles….

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Tomb of Amyntas 

Fethiye, Turkey

350 B.C 

The tomb was named after the Greek inscription on the side, reading “Amyntou tou Ermagioiu” meaning “Armyntas son of Hermagios”. What makes the tomb of Amyntas unique from other tombs is its size, most mountain side tombs are the size of a small room, this tomb’s height is equivalent to one of a full-sized temple.


Roman Abraxas Magic Intaglio, Eastern Mediterranean, 2nd-3rd Century AD

Of red polished jasper, the obverse showing an Abraxas figure, with a blessing gesture, an adorant and a Greek inscription. The reverse shows a lion surmounted by a trident, a crescent and eight stars. Amulets such as these (aka Abraxas Stones) were kept in the hand, under the tongue or sewn into clothing. They bore inscribed formulas or spells and were intended to protect the owner or serve very specific magical purposes to the owner’s benefit.

Abraxas was an Egyptian Gnostic solar deity associated by the ancients with Yahweh, Mithras and the Celtic Belenus, as well as Yeshu (Jesus). Amulets and seals bearing the figure of Abraxas were common in the second century AD, and were used as recently as the thirteenth century in the seals of the Knights Templar. By medieval times, Abraxas was relegated to the ranks of demons.

The image most associated with Abraxas is that of a composite creature with the head of a rooster, the body of a man, and legs made of serpents or scorpions. He carries a whip and shield, called wisdom and power, respectively. Abraxas is occasionally depicted driving a chariot drawn by four horses, which representing the four elements.

The word Abraxas was first proposed by the Alexandrian Gnostic scholar Basilides (d. 145 AD), and is created using the first letters of the names of the seven visible planets. Geometrically, the letters in Abraxas add to 365, the number of days in a solar year, and the number of Aeons, or divine emanations, in Gnostic cosmology. Each of the seven letters represents one of the seven planetary powers.