2.2. Invocation of Ourania
- Description:
- A paving block of the Odeon stage. The block (H. 0.24 x W. 0.69) may originally have been rectangular, but the top left corner is now formed by a separate block (H. 0.33 x W. 0.70), which appears to be a subsequent insertion, since it was held in place by metal clamps: these have since been lost, but the grooves for them remain. Since the upper edge of the block forms part of the rim of the stage, it appears that the repair, and others like it, was necessary to improve the appearance of that rim, which may have become worn. Subsequent to the repair, the rim was used for an inscription in the middle or later fifth century (2.19).
- Text:
- The text was inscribed, using a metal tool, after the insertion had been made, since the letters in l.1 allow for interruption by one of the clamps. This part of the surface was later scratched, apparently in preparation for a plaster or other coating.
- Letters:
- The letters are thinly cut, and vary in size (av. 0.05); lunate sigma and epsilon, semi-cursive mu, alpha with dropped bar.
- Date:
- First to fourth centuries A.D. (lettering, content).
- Findspot:
- Bouleuterion/Odeon stage, paving at the front edge.
- Original Location:
- Findspot
- Last recorded location:
- Findspot (1985)
- History of discovery:
- Recorded by the NYU exhibition in 1966 (Odeon 1)
- Bibliography:
- Published byRoueché, PPA 12.
- Text constituted from:
- Transcriptions (Reynolds, Roueché) This edition Roueché (2007).
- 1αὔξι Οὐρανία ἡ μεγάλη
- 2τ̣ύ̣χη τοῦ δούλου σου
- 3αὔξι ὁ Χρυ̣σόμαλλος
- 4ὁ π̣ῆξας τὸ μάρμαρον
- 1ΑΥΞΙΟΥΡΑΝΙΑΗΜΕΓΑΛΗ
- 2··ΧΗΤΟΥΔΟΥΛΟΥΣΟΥ
- 3ΑΥΞΙΟΧΡ·ΣΟΜΑΛΛΟΣ
- 4Ο·ΗΞΑΣΤΟΜΑΡΜΑΡΟΝ
<ab>
<lb
n="1"
/>
αὔξι
Οὐρανία
ἡ
μεγάλη
<lb
n="2"
/>
<unclear
reason="damage"
>
τύ
</unclear>
χη
τοῦ
δούλου
σου
<lb
n="3"
/>
αὔξι
ὁ
Χρ
<unclear
reason="damage"
>
υ
</unclear>
σόμαλλος
<lb
n="4"
/>
ὁ
<unclear
reason="damage"
>
π
</unclear>
ῆξας
τὸ
μάρμαρον
</ab>
Apparatus
l. 2, perhaps εὐχή.
l. 4, the Π is roughly cut, and Christopher Jones suggested τῆξας, which he took as a reference to a performer who 'has melted the marble' by his powerful performance (see footnote to Alan Cameron, BASP 20 (1983), 84); Roueché reads the second upright as a deliberate line, rather than a casual scratch.
Translation:
Power to Ourania the great, fortune of your servant! Power to Chrysomallos, who fixed the marble!
Commentary:
See bibliography.
Photographs:
- Face (1985)
-
You may download this inscription in EpiDoc XML. (You may need the EpiDoc DTD v. 5 to validate this file.)