PAUSANIAS 5. 16 - 27

DESCRIPTION OF GREECE 5. 16 - 27, TRANSLATED BY W. H. S. JONES

TEMPLE OF OLYMPIAN HERA

[5.16.1] XVI. It remains after this for me to describe the temple of Hera and the noteworthy objects contained in it. The Elean account says that it was the people of Scillus, one of the cities in Triphylia, who built the temple about eight years after Oxylus came to the throne of Elis. The style of the temple is Doric, and pillars stand all round it. In the rear chamber one of the two pillars is of oak. The length of the temple is one hundred and sixty-nine feet, the breadth sixty-three feet, the height not short of fifty feet. Who the architect was they do not relate.

THE HERAEA GAMES

[5.16.2] Every fourth year there is woven for Hera a robe by the Sixteen women, and the same also hold games called Heraea. The games consist of foot-races for maidens. These are not all of the same age. The first to run are the youngest; after them come the next in age, and the last to run are the oldest of the maidens. They run in the following way:

[5.16.3] their hair hangs down, a tunic reaches to a little above the knee, and they bare the right shoulder as far as the breast. These too have the Olympic stadium reserved for their games, but the course of the stadium is shortened for them by about one-sixth of its length. To the winning maidens they give crowns of olive and a portion of the cow sacrificed to Hera. They may also dedicate statues with their names inscribed upon them. Those who administer to the Sixteen are, like the presidents of the games, married women.

[5.16.4] The games of the maidens too are traced back to ancient times; they say that, out of gratitude to Hera for her marriage with Pelops, Hippodameia assembled the Sixteen Women, and with them inaugurated the Heraea. They relate too that a victory was won by Chloris, the only surviving daughter of the house of Amphion, though with her they say survived one of her brothers. As to the children of Niobe, what I myself chanced to learn about them I have set forth in my account of Argos.⁴⁰

[5.16.5] Besides the account already given they tell another story about the Sixteen Women as follows. Damophon, it is said, when tyrant of Pisa did much grievous harm to the Eleans. But when he died, since the people of Pisa refused to participate as a people in their tyrant's sins, and the Eleans too became quite ready to lay aside their grievances, they chose a woman from each of the sixteen cities of Elis still inhabited at that time to settle their differences, this woman to be the oldest, the most noble, and the most esteemed of all the women.

[5.16.6] The cities from which they chose the women were Elis, . . . The women from these cities made peace between Pisa and Elis. Later on they were entrusted with the management of the Heraean games, and with the weaving of the robe for Hera. The Sixteen Women also arrange two choral dances, one called that of Physcoa and the other that of Hippodameia. This Physcoa they say came from Elis in the Hollow, and the name of the parish where she lived was Orthia.

[5.16.7] She mated they say with Dionysus, and bore him a son called Narcaeus. When he grew up he made war against the neighboring folk, and rose to great power, setting up moreover a sanctuary of Athena surnamed Narcaea. They say too that Narcaeus and Physcoa were the first to pay worship to Dionysus. So various honors are paid to Physcoa, especially that of the choral dance, named after her and managed by the Sixteen Women. The Eleans still adhere to the other ancient customs, even though some of the cities have been destroyed. For they are now divided into eight tribes, and they choose two women from each.

[5.16.8] Whatever ritual it is the duty of either the Sixteen Women or the Elean umpires to perform, they do not perform before they have purified themselves with a pig meet for purification and with water. Their purification takes place at the spring Piera. You reach this spring as you go along the flat road from Olympia to Elis.

TEMPLE OF OLYMPIAN HERA CONT.

[5.17.1] XVII. These things, then, are as I have already described. In the temple of Hera is an image of Zeus, and the image of Hera is sitting on a throne with Zeus standing by her, bearded and with a helmet on his head. They are crude works of art. The figures of Seasons next to them, seated upon thrones, were made by the Aeginetan Smilis.⁴¹ Beside them stands an image of Themis, as being mother of the Seasons. It is the work of Dorycleidas, a Lacedaemonian by birth and a disciple of Dipoenus and Scyllis.

[5.17.2] The Hesperides, five in number, were made by Theocles, who like Dorycleidas was a Lacedaemonian, the son of Hegylus; he too, they say, was a student under Scyllis and Dipoenus. The Athena wearing a helmet and carrying a spear and shield is, it is said, a work of Medon, a Lacedaemonian, brother of Dorycleidas and a pupil of the same masters.

[5.17.3] Then the Maid and Demeter sit opposite each other, while Apollo and Artemis stand opposite each other. Here too have been dedicated Leto, Fortune, Dionysus and a winged Victory. I cannot say who the artists were, but these figures too are in my opinion very ancient. The figures I have enumerated are of ivory and gold, but at a later date other images were dedicated in the Heraeum, including a marble Hermes carrying the baby Dionysus, a work of Praxiteles, and a bronze Aphrodite made by Cleon of Sicyon.⁴²

[5.17.4] The master of this Cleon, called Antiphanes, was a pupil of Periclytus, who himself was a pupil of Polycleitus of Argos. A nude gilded child is seated before Aphrodite, a work fashioned by Boethus of Calchedon. There were also brought hither from what is called the Philippeum other images of gold and ivory, Eurydice the wife of Aridaeus and Olympias the wife of Philip.

THE CHEST OF CYPSELUS

[5.17.5] There is also a chest made of cedar, with figures on it, some of ivory, some of gold, others carved out of the cedar-wood itself. It was in this chest that Cypselus, the tyrant of Corinth, was hidden by his mother when the Bacchidae were anxious to discover him after his birth. In gratitude for the saving of Cypselus, his descendants, Cypselids as they are called, dedicated the chest at Olympia. The Corinthians of that age called chests kypselai, and from this word, they say, the child received his name of Cypselus.

[5.17.6] On most of the figures on the chest there are inscriptions, written in the ancient characters. In some cases the letters read straight on, but in others the form of the writing is what the Greeks call bustrophedon.⁴³ It is like this: at the end of the line the second line turns back, as runners do when running the double race. Moreover the inscriptions on the chest are written in winding characters difficult to decipher. Beginning our survey at the bottom we see in the first space of the chest the following scenes.

[5.17.7] Oenomaus is chasing Pelops, who is holding Hippodameia. Each of them has two horses, but those of Pelops have wings. Next is wrought the house of Amphiaraus, and baby Amphilochus is being carried by some old woman or other. In front of the house stands Eriphyle with the necklace, and by her are her daughters Eurydice and Demonassa, and the boy Alcmaeon naked.

[5.17.8] Asius in his poem makes out Alcmena also to be a daughter of Amphiaraus and Eriphyle. Baton is driving the chariot of Amphiaraus, holding the reins in one hand and a spear in the other. Amphiaraus already has one foot on the chariot and his sword drawn; he is turned towards Eriphyle in such a transport of anger that he can scarcely refrain from striking her.

[5.17.9] After the house of Amphiaraus come the games at the funeral of Pelias, with the spectators looking at the competitors. Heracles is seated on a throne, and behind him is a woman. There is no inscription saying who the woman is, but she is playing on a Phrygian, not a Greek, flute. Driving chariots drawn by pairs of horses are Pisus, son of Perieres, and Asterion, son of Cometas (Asterion is said to have been one of the Argonauts), Polydeuces, Admetus and Euphemus. The poets declare that

the last was a son of Poseidon and a companion of Jason on his voyage to Colchis. He it is who is winning the chariot-race.

[5.17.10] Those who have boldly ventured to box are Admetus and Mopsus, the son of Ampyx. Between them stands a man playing the flute, as in our day they are accustomed to play the flute when the competitors in the pentathlum are jumping. The wrestling-bout between Jason and Peleus is an even one. Eurybotas is shown throwing the quoit; he must be some famous quoit-thrower. Those engaged in a running-race are Melanion, Neotheus and Phalareus; the fourth runner is Argeius, and the fifth is Iphiclus. Iphiclus is the winner, and Acastus is holding out the crown to him. He is probably the father of the Protesilaus who joined in the war against Troy.

[5.17.11] Tripods too are set here, prizes of course for the winners; and there are the daughters of Pelias, though the only one with her name inscribed is Alcestis. Iolaus, who voluntarily helped Heracles in his labours, is shown as a victor in the chariot-race. At this point the funeral games of Pelias come to an end, and Heracles, with Athena standing beside him, is shooting at the hydra, the beast in the river Amymone. Heracles can be easily recognized by his exploit and his attitude, so his name is not inscribed by him. There is also Phineus the Thracian, and the sons of Boreas are chasing the harpies away from him.

[5.18.1] XVIII. Now I come to the second space on the chest, and in going round it I had better begin from the left. There is a figure of a woman holding on her right arm a white child asleep, and on her left she has a black child like one who is asleep. Each has his feet turned different ways. The inscriptions declare, as one could infer without inscriptions, that the figures are Death and Sleep, with Night the nurse of both.

[5.18.2] A beautiful woman is punishing an ugly one, choking her with one hand and with the other striking her with a staff. It is Justice who thus treats Injustice. Two other women are pounding in mortars with pestles; they are supposed to be wise in medicine-lore, though there is no inscription to them. Who the man is who is followed by a woman is made plain by the hexameter verses, which run thus:–

Idas brings back, not against her will,
Fair-ankled Marpessa, daughter of Evenus, whom Apollo carried off.

[5.18.3] A man wearing a tunic is holding in his right hand a cup, and in his left a necklace; Alcmena is taking hold of them. This scene represents the Greek story how Zeus in the likeness of Amphitryon had intercourse with Alcmena. Menelaus, wearing a breastplate and carrying a sword, is advancing to kill Helen, so it is plain that Troy has been captured. Medeia is seated upon a throne, while Jason stands on her right and Aphrodite on her left. On them is an inscription:–

Jason weds Medeia, as Aphrodite bids.

[5.18.4] There are also figures of Muses singing, with Apollo leading the song; these too have an inscription:–

This is Leto's son, prince Apollo, far-shooting;
Around him are the Muses, a graceful choir, whom he is leading.

Atlas too is supporting, just as the story has it, heaven and earth upon his shoulders; he is also carrying the apples of the Hesperides. A man holding a sword is coming towards Atlas. This everybody can see is Heracles, though he is not mentioned specially in the inscription, which reads:–

Here is Atlas holding heaven, but he will let go the apples.

[5.18.5] There is also Ares clad in armour and leading Aphrodite. The inscription by him is “Enyalius.” There is also a figure of Thetis as a maid; Peleus is taking hold of her, and from the hand of Thetis a snake is darting at Peleus. The sisters of Medusa, with wings, are chasing Perseus, who is flying. Only Perseus has his name inscribed on him.

[5.18.6] On the third space of the chest are military scenes. The greater number of the figures are on foot, though there are some knights in two-horse chariots. About the soldiers one may infer that they are advancing to battle, but that they will recognize and greet each other. Two different accounts of them are given by the guides. Some have said that they are the Aetolians with Oxylus and the ancient Eleans, and that they are meeting in remembrance of their original descent and as a sign of their mutual good will. Others declare that the soldiers are meeting in battle, and that they are Pylians and Arcadians about to fight by the city Pheia and the river Iardanus.

[5.18.7] But it cannot for a moment be admitted that the ancestor of Cypselus, a Corinthian, having the chest made as a possession for himself, of his own accord passed over all Corinthian story, and had carved on the chest foreign events which were not famous. The following interpretation suggested itself to me. Cypselus and his ancestors came originally from Gonussa above Sicyon, and one of their ancestors was Melas, the son of Antasus.

[5.18.8] But, as I have already related in my account of Corinth,⁴⁴ Aletes refused to admit as settlers Melas and the host with him, being nervous about an oracle which had been given him from Delphi; but at last Melas, using every art of winning favours, and returning with entreaties every time he was driven away, persuaded Aletes however reluctantly to receive them. One might infer that this army is represented by the figures wrought upon the chest.

[5.19.1] XIX. In the fourth space on the chest as you go round from the left is Boreas, who has carried off Oreithyia; instead of feet he has serpents' tails. Then comes the combat between Heracles and Geryones, who is represented as three men joined to one another. There is Theseus holding a lyre, and by his side is Ariadne gripping a crown. Achilles and Memnon are fighting; their mothers stand by their side.

[5.19.2] There is also Melanion by whom is Atalanta holding a young deer. Ajax is fighting a duel with Hector, according to the challenge,⁴⁵ and between the pair stands Strife in the form of a most repulsive woman. Another figure of Strife is in the sanctuary of Ephesian Artemis; Calliphon of Samos included it in his picture of the battle at the ships of the Greeks. On the chest are also the Dioscuri, one of them a beardless youth, and between them is Helen.

[5.19.3] Aethra, the daughter of Pittheus, lies thrown to the ground under the feet at Helen. She is clothed in black, and the inscription upon the group is an hexameter line with the addition of a single word:–

The sons of Tyndareus are carrying of Helen, and are dragging Aethra from Athens.⁴⁶

[5.19.4] Such is the way this line is constructed. Iphidamas, the son of Antenor, is lying, and Coon is fighting for him against Agamemnon. On the shield of Agamemnon is Fear, whose head is a lion's. The inscription above the corpse of Iphidamas runs:

Iphidamas, and this is Coon fighting for him.

The inscription on the shield of Agamemnon runs:

[5.19.5] This is the Fear of mortals: he who holds him is Agamemnon.

There is also Hermes bringing to Alexander the son of Priam the goddesses of whose beauty he is to judge, the inscription on them being: Here is Hermes, who is showing to Alexander, that he may arbitrate
Concerning their beauty, Hera, Athena and Aphrodite.

On what account Artemis has wings on her shoulders I do not know; in her right hand she grips a leopard, in her left a lion. Ajax too is represented dragging Cassandra from the image of Athena, and by him is also an inscription: Ajax of Locri is dragging Cassandra from Athena.

[5.19.6] Polyneices, the son of Oedipus, has fallen on his knee, and Eteocles, the other son of Oedipus, is rushing on him. Behind Polyneices stands a woman with teeth as cruel as those of a beast, and her fingernails are bent like talons. An inscription by her calls her Doom, implying that Polyneices has been carried off by fate, and that Eteocles fully deserved his end. Dionysus is lying down in a cave, a bearded figure holding a golden cup, and clad in a tunic reaching to the feet. Around him are vines, apple-trees and pomegranate-trees.

[5.19.7] The highest space – the spaces are five in number – shows no inscription, so that we can only conjecture what the reliefs mean. Well, there is a grotto and in it a woman sleeping with a man upon a couch. I was of opinion that they were Odysseus and Circe, basing my view upon the number of the handmaidens in front of the grotto and upon what they are doing. For the women are four, and they are engaged on the tasks which Homer mentions in his poetry.⁴⁷ There is a Centaur with only two of his legs those of a horse; his forelegs are human.

[5.19.8] Next come two-horse chariots with women standing in them. The horses have golden wings, and a man is giving armour to one of the women. I conjecture that this scene refers to the death of Patroclus; the women in the chariots, I take it, are Nereids, and Thetis is receiving the armour from Hephaestus. And moreover, he who is giving the armour is not strong upon his feet, and a slave follows him behind, holding a pair of fire-tongs.

[5.19.9] An account also is given of the Centaur, that he is Chiron, freed by this time from human affairs and held worthy to share the home of the gods, who has come to assuage the grief of Achilles. Two maidens in a mule-cart, one holding the reins and the other wearing a veil upon her head, are thought to be Nausicaa, the daughter of Alcinous, and her handmaiden, driving to the washing-pits. The man shooting at Centaurs, some of which he has killed, is plainly Heracles, and the exploit is one of his.

[5.19.10] As to the maker of the chest, I found it impossible to form any conjecture. But the inscriptions upon it, though possibly composed by some other poet, are, as I was on the whole inclined to hold, the work of Eumelus of Corinth.⁴⁸ My main reason for this view is the processional hymn he wrote for Delos.

VOTIVE OFFERINGS IN THE TEMPLE OF HERA

[5.20.1] XX. There are here other offerings also: a couch of no great size and for the most part adorned with ivory; the quoit of Iphitus; a table on which are set out the crowns for the victors. The couch is said to have been a toy of Hippodameia. The quoit of Iphitus has inscribed upon it the truce which the Eleans proclaim at the Olympic festivals; the inscription is not written in a straight line, but the letters run in a circle round the quoit.

[5.20.2] The table is made of ivory and gold, and is the work of Colotes.⁴⁹ Colotes is said to have been a native of Heracleia, but specialists in the history of sculpture maintain that he was a Parian, a pupil of Pasiteles, who himself was a pupil of . . . There are figures of Hera, Zeus, the Mother of the gods, Hermes, and Apollo with Artemis. Behind is the disposition of the games.

[5.20.3] On one side are Asclepius and Health, one of his daughters; Ares too and Contest by his side; on the other are Pluto, Dionysus, Persephone and nymphs, one of them carrying a ball. As to the key (Pluto holds a key) they say that what is called Hades has been locked up by Pluto, and that nobody will return back again therefrom.

[5.20.4] I must not omit the story told by Aristarchus, the guide to the sights at Olympia. He said that in his day the roof of the Heraeum had fallen into decay. When the Eleans were repairing it, the corpse of a foot-soldier with wounds was discovered between the roof supporting the tiles and the ornamented ceiling. This soldier took part in the battle in the Altis between the Eleans and the Lacedaemonians.⁵⁰

[5.20.5] The Eleans in fact climbed to defend themselves on to all high places alike, including the sanctuaries of the gods. At any rate this soldier seemed to us to have crept under here after growing faint with his wounds, and so died. Lying in a completely sheltered spot the corpse would suffer harm neither from the heat of summer nor from the frost of winter. Aristarchus said further that they carried the corpse outside the Altis and buried him in the earth along with his armour.

THE PILLAR OF OENOMAUS

[5.20.6] What the Eleans call the pillar of Oenomaus is in the direction of the sanctuary of Zeus as you go from the great altar. On the left are four pillars with a roof on them, the whole constructed to protect a wooden pillar which has decayed through age, being for the most part held together by bands. This pillar, so runs the tale, stood in the house of Oenomaus. Struck by lightning the rest of the house was destroyed by the fire; of all the building only this pillar was left.

[5.20.7] A bronze tablet in front of it has the following elegiac inscription:–

Stranger, I am a remnant of a famous house,
I, who once was a pillar in the house of Oenomaus;
Now by Cronus' son I lie with these bands upon me,
A precious thing, and the baleful flame of fire consumed me not.

In my time another incident took place, which I will relate.

[5.20.8] A Roman senator won an Olympic victory. Wishing to leave behind, as a memorial of his victory, a bronze statue with an inscription, he proceeded to dig, so as to make a foundation. When his excavation came very close to the pillar of Oenomaus, the diggers found there fragments of armour, bridles and curbs.

THE METROUM & TOWN HALL AT OLYMPIA

[5.20.9] These I saw myself as they were being dug out. A temple of no great size in the Doric style they have called down to the present day Metroum,⁵¹ keeping its ancient name. No image lies in it of the Mother of the gods, but there stand in it statues of Roman emperors. The Metroum is within the Altis, and so is a round building called the Philippeum. On the roof of the Philippeum is a bronze poppy which binds the beams together.

[5.20.10] This building is on the left of the exit over against the Town Hall. It is made of burnt brick and is surrounded by columns. It was built by Philip after the fall of Greece at Chaeroneia. Here are set statues of Philip and Alexander, and with them is Amyntas, Philip's father. These works too are by Leochares, and are of ivory and gold, as are the statues of Olympias and Eurydice.

VOTIVE OFFERINGS AT OLYMPIA

[5.21.1] XXI. From this point my account will proceed to a description of the statues and votive offerings; but I think that it would be wrong to mix up the accounts of them. For whereas on the Athenian Acropolis statues are votive offerings like everything else, in the Altis some things only are dedicated in honor of the gods, and statues are merely part of the prizes awarded to the victors. The statues I will mention later; I will turn first to the votive offerings, and go over the most noteworthy of them.

[5.21.2] As you go to the stadium along the road from the Metroum, there is on the left at the bottom of Mount Cronius a platform of stone, right by the very mountain, with steps through it. By the platform have been set up bronze images of Zeus. These have been made from the fines inflicted on athletes who have wantonly broken the rules of the contests, and they are called Zanes (figures of Zeus) by the natives.

[5.21.3] The first, six in number, were set up in the ninety-eighth Olympiad. For Eupolus of Thessaly bribed the boxers who entered the competition, Agenor the Arcadian and Prytanis of Cyzicus, and with them also Phormio of Halicarnassus, who had won at the preceding Festival. This is said to have been the first time that an athlete violated the rules of the games, and the first to be fined by the Eleans were Eupolus and those who accepted bribes from Eupolus. Two of these images are the work of Cleon of Sicyon; who made the next four I do not know.

[5.21.4] Except the third and the fourth these images have elegiac inscriptions on them. The first of the inscriptions is intended to make plain that an Olympic victory is to be won, not by money, but by swiftness of foot and strength of body. The inscription on the second image declares that the image stands to the glory of the deity, through the piety of the Eleans, and to be a terror to law-breaking athletes. The purport of the inscription on the fifth image is praise of the Eleans, especially for their fining the boxers; that of the sixth and last is that the images are a warning to all the Greeks not to give bribes to obtain an Olympic victory.

[5.21.5] Next after Eupolus they say that Callippus of Athens, who had entered for the pentathlum, bought off his fellow-competitors by bribes, and that this offence occurred at tie hundred and twelfth Festival.⁵² When the fine had been imposed by the Eleans on Callippus and his antagonists, the Athenians commissioned Hypereides to persuade the Eleans to remit them the fine. The Eleans refused this favour, and the Athenians were disdainful enough not to pay the money and to boycott the Olympic games, until finally the god at Delphi declared that he would deliver no oracle on any matter to the Athenians before they had paid the Eleans the fine.

[5.21.6] So when it was paid, images, also six in number, were made in honor of Zeus; on them are inscribed elegiac verses not a whit more elegant than those relating the fine of Eupolus. The gist of the first inscription is that the images were dedicated because the god by an oracle expressed his approval of the Elean decision against the pentathletes; on the second image and likewise on the third are praises of the Eleans for their fining the competitors in the pentathlum.

[5.21.7] The fourth purports to say that the contest at Olympia is one of merit and not of wealth; the inscription on the fifth declares the reason for dedicating the images, while that on the sixth commemorates the oracle given to the Athenians by Delphi.

[5.21.8] The images next to those I have enumerated are two in number, and they were dedicated from a fine imposed on wrestlers. As to their names, neither I nor the guides of the Eleans knew them. On these images too are inscriptions; one says that the Rhodians paid money to Olympian Zeus for the wrongdoing of a wrestler; the other that certain men wrestled for bribes and that the image was made from the fines imposed upon them.

[5.21.9] The rest of the information about these athletes comes from the guides of the Eleans, who say that it was at the hundred and seventy-eighth Festival that Eudelus accepted a bribe from Philostratus, and that this Philostratus was a Rhodian. This account I found was at variance with the Elean record of Olympic victories. In this record it is stated that Strato of Alexandria at the hundred and seventy-eighth Festival won on the same day the victory in the pancratium and the victory at wrestling. Alexandria on the Canopic mouth of the Nile was founded by Alexander the son of Philip, but it is said that previously there was on the site a small Egyptian town called Racotis.

[5.21.10] Three Competitors before the time of this Strato, and three others after him, are known to have received the wild-olive for winning the pancratium and the wrestling: Caprus from Elis itself, and of the Greeks on the other side of the Aegean, Aristomenes of Rhodes and Protophanes of Magnesia on the Lethaeus, were earlier than Strato; after him came Marion his compatriot, Aristeas of Stratoniceia (anciently both land and city were called Chrysaoris), and the seventh was Nicostratus, from Gilicia on the coast, though he was in no way a Gilician except in name.

[5.21.11] This Nicostratus while still a baby was stolen from Prymnessus in Phrygia by robbers, being a child of a noble family. Conveyed to Aegeae he was bought by somebody or other, who some time afterwards dreamed a dream. He thought that a lion's whelp lay beneath the pallet-bed on which Nicostratus was sleeping. Now Nicostratus, when he grew up, won other victories elsewhere, besides in the pancratium and wrestling at Olympia.

[5.21.12] Afterwards others were fined by the Eleans, among whom was an Alexandrian boxer at the two hundred and eighteenth Festival. The name of the man fined was Apollonius, with the surname of Rhantes – it is a sort of national characteristic for Alexandrians to have a surname. This man was the first Egyptian to be convicted by the Eleans of a misdemeanor.

[5.21.13] It was not for giving or taking a bribe that he was condemned, but for the following outrageous conduct in connection with the games. He did not arrive by the prescribed time, and the Eleans, if they followed their rule, had no option but to exclude him from the games. For his excuse, that he had been kept back among the Cyclades islands by contrary winds, was proved to be an untruth by Heracleides, himself an Alexandrian by birth. He showed that Apollonius was late because he had been picking up some money at the Ionian games.

[5.21.14] In these circumstances the Eleans shut out from the games Apollonius with any other boxer who came after the prescribed time, and let the crown go to Heracleides without a contest. Whereupon Apollonius put on his gloves for a fight, rushed at Heracleides, and began to pummel him, though he had already put the wild-olive on his head and had taken refuge with the umpires. For this light-headed folly he was to pay dearly.

[5.21.15] There are also two other images of modern workmanship. For at the two hundred and twenty-sixth Festival they detected that two boxing men, in a fight for victory only, had agreed about the issue for a sum of money. For this misconduct a fine was inflicted, and of the images of Zeus that were made, one stands on the left of the entrance to the stadium and the other on the right. Of the boxers, the one bribed was called Didas, and the briber was Sarapammon. They were from the same district, the newest in Egypt, called Arsinoites.

[5.21.16] It is a wonder in any case if a man has so little respect for the god of Olympia as to take or give a bribe in the contests; it is an even greater wonder that one of the Eleans themselves has fallen so low. But it is said that the Elean Damonicus did so fall at the hundred and ninety second Festival. They say that collusion occurred between Polyctor the son of Damonicus and Sosander of Smyrna, of the same name as his father; these were competitors for the wrestling prize of wild-olive. Damonicus, it is alleged, being exceedingly ambitious that his son should win, bribed the father of Sosander.

[5.21.17] When the transaction became known, the umpires imposed a fine, but instead of imposing it on the sons they directed their anger against the fathers, for that they were the real sinners. From this fine images were made. One is set up in the Elean gymnasium; the other is in the Altis in front of what is called the Painted Portico, because anciently there were pictures on the walls. Some call this Portico the Echo Portico, because when a man has shouted his voice is repeated by the echo seven or even more times.

[5.21.18] They say that a pancratiast of Alexandria, by name Sarapion, at the two hundred and first Festival, was so afraid of his antagonists that on the day before the pancratium was to be called on he ran away. This is the only occasion on record when any man, not to say a man of Egypt, was fined for cowardice.

[5.22.1] XXII. These were the causes for which I found that these images were made. There are also images of Zeus dedicated by States and by individuals. There is in the Altis an altar near the entrance leading to the stadium. On it the Eleans do not sacrifice to any of the gods, but it is customary for the trumpeters and heralds to stand upon it when they compete. By the side of this altar has been built a pedestal of bronze, and on it is an image of Zeus, about six cubits in height, with a thunderbolt in either hand. It was dedicated by the people of Cynaetha. The figure of Zeus as a boy wearing the necklace is the votive offering of Cleolas, a Phliasian.

[5.22.2] By the side of what is called the Hippodamium is a semicircular stone pedestal, and on it are Zeus, Thetis, and Day entreating Zeus on behalf of her children. These are on the middle of the pedestal. There are Achilles and Memnon, one at either edge of the pedestal, representing a pair of combatants in position. There are other pairs similarly opposed, foreigner against Greek: Odysseus opposed to Helenus, reputed to be the cleverest men in the respective armies; Alexander and Menelaus, in virtue of their ancient feud; Aeneas and Diomedes, and Deiphobus and Ajax son of Telamon.

[5.22.3] These are the work of Lycius, the son of Myron, and were dedicated by the people of Apollonia on the Ionian sea. There are also elegiac verses written in ancient characters under the feet of Zeus.

As memorials of Apollonia have we been dedicated, which on the Ionian sea
Phoebus founded, he of the unshorn locks.
The Apollonians, after taking the land of Abantis, set up here
These images with heaven's help, tithe from Thronium.

The land called Abantis and the town of Thronium in it were a part of the Thesprotian mainland over against the Ceraunian mountains.

[5.22.4] When the Greek fleet was scattered on the voyage home from Troy, Locrians from Thronium, a city on the river Boagrius, and Abantes from Euboea, with eight ships altogether, were driven on the Ceraunian mountains. Settling here and founding the city of Thronium, by common agreement they gave the name of Abantis to the land as far as they occupied it. Afterwards, however, they were conquered in war and expelled by the people of Apollonia, their neighbors. Apollonia was a colony of Corcyra, they say, and Corcyra of Corinth, and the Corinthians had their share of the spoils.

[5.22.5] A little farther on is a Zeus turned towards the rising sun; he holds an eagle in one hand and in the other a thunderbolt. On him are set spring flowers, with a crown of them on his head.⁵³ It is an offering of the people of Metapontum. The artist was Aristonus of Aegina, but we do not know when he lived nor who his teacher was.

[5.22.6] The Phliasians also dedicated a Zeus, the daughters of Asopus, and Asopus himself. Their images have been ordered thus: Nemea is the first of the sisters, and after her comes Zeus seizing Aegina; by Aegina stands Harpina, who, according to the tradition of the Eleans and Phliasians, mated with Ares and was the mother of Oenomaus, king around Pisa; after her is Corcyra, with Thebe next; last of all comes Aesopus. There is a legend about Corcyra that she mated with Poseidon, and the same thing is said by Pindar of Thebe and Zeus.⁵⁴

[5.22.7] Men of Leontini have set up a Zeus, not at public expense but out of their private purse. The height of the image is seven cubits, and in its hands are an eagle and the bolt of Zeus, in accordance with the poets' tales. It was dedicated by Hippagoras, Phrynon, and Aenesidemus, who in my opinion was some other Aenesidemus and not the tyrant of Leontini.

[5.23.1] XXIII. As you pass by the entrance to the Council Chamber you see an image of Zeus standing with no inscription on it, and then on turning to the north another image of Zeus. This is turned towards the rising sun, and was dedicated by those Greeks who at Plataea fought against the Persians under Mardonius.⁵⁵ On the right of the pedestal are inscribed the cities which took part in the engagement: first the Lacedaemonians, after them the Athenians, third the Corinthians, fourth the Sicyonians,

[5.23.2] fifth the Aeginetans; after the Aeginetans, the Megarians and Epidaurians, of the Arcadians the people of Tegea and Orchomenus, after them the dwellers in Phlius, Troezen and Hermion, the Tirynthians from the Argolid, the Plataeans alone of the Boeotians, the Argives of Mycenae, the islanders of Ceos and Melos, Ambraciots of the Thesprotian mainland, the Tenians and the Lepreans, who were the only people from Triphylia, but from the Aegean and the Cyclades there came not only the Tenians but also the Naxians and Cythnians, Styrians too from Euboea, after them Eleans, Potidaeans, Anactorians, and lastly the Chalcidians on the Euripus.

[5.23.3] Of these cities the following are at the present day uninhabited: Mycenae and Tiryns were destroyed by the Argives after the Persian wars. The Ambraciots and Anactorians, colonists of Corinth, were taken away by the Roman emperor⁵⁶ to help to found Nicopolis near Actium. The Potidaeans twice suffered removal from their city, once at the hands of Philip, the son of Amyntas,⁵⁷ and once before this at the hands of the Athenians.⁵⁸ Afterwards, however, Cassander restored the Potidaeans to their homes, but the name of the city was changed from Potidaea to Cassandreia after the name of its founder.⁵⁹ The image at Olympia dedicated by the Greeks was made by Anaxagoras of Aegina. The name of this artist is omitted by the historians of Plataea.

[5.23.4] In front of this Zeus there is a bronze slab, on which are the terms of the Thirty-years Peace between the Lacedaemonians and the Athenians. The Athenians made this peace after they had reduced Euboea for the second time, in the third year of the eighty-third Olympiad, when Crison of Himera won the foot-race.⁶⁰ One of the articles of the treaty is to the effect that although Argos has no part in the treaty between Athens and Sparta, yet the Athenians and the Argives may privately, if they wish, be at peace with each other. Such are the terms of this treaty.

[5.23.5] There is yet another image of Zeus dedicated beside the chariot of Cleosthenes. This chariot I will describe later; the image of Zeus was dedicated by the Megarians, and made by the brothers Psylacus and Onaethus with the help of their sons. About their date, their nation and their master, I can tell you nothing.

[5.23.6] By the chariot of Gelon stands an ancient Zeus holding a scepter which is said to be an offering of the Hyblaeans. There were two cities in Sicily called Hybla, one surnamed Gereatis and the other Greater, it being in fact the greater of the two. They still retain their old names, and are in the district of Catana. Greater Hybla is entirely uninhabited, but Gereatis is a village of Catana, with a sanctuary of the goddess Hyblaea which is held in honor by the Sicilians. The people of Gereatis, I think, brought the image to Olympia. For Philistus, the son of Archomenides, says that they were interpreters of portents and dreams, and more given to devotions than any other foreigners in Sicily.

[5.23.7] Near the offering of the Hyblaeans has been made a pedestal of bronze with a Zeus upon it, which I conjecture to be about eighteen feet high. The donors and sculptors are set forth in elegiac verse:–

The Cleitorians dedicated this image to the god, a tithe
From many cities that they had reduced by force.
The sculptors were Aristo and Telestas,
Own brothers and Laconians.⁶¹

I do not think that these Laconians were famous all over Greece, for had they been so the Eleans would have had something to say about them, and the Lacedaemonians more still, seeing that they were their fellow-citizens.

[5.24.1] XXIV. By the side of the altar of Zeus Laoetas and Poseidon Laoetas is a Zeus on a bronze pedestal. The people of Corinth gave it and Musus made it, whoever this Musus may have been. As you go from the Council Chamber to the great temple there stands on the left an image of Zeus, crowned as it were with flowers, and with a thunderbolt set in his right hand. It is the work of Ascarus of Thebes, a pupil of Canachus of Sicyon. The inscription on it says that it is a tithe from the war between Phocis and Thessaly.

[5.24.2] If the Thessalians went to war with Phocis and dedicated the offering from Phocian plunder, this could not have been the so-called “Sacred War,” ⁶² but must have been a war between the two States previous to the invasion of Greece by the Persians under their king. Not far from this is a Zeus, which, as is declared by the verse inscribed on it, was dedicated by the Psophidians for a success in war.

[5.24.3] On the right of the great temple is a Zeus facing the rising of the sun, twelve feet high and dedicated, they say, by the Lacedaemonians, when they entered on a war with the Messenians after their second revolt. On it is an elegiac couplet:–

Accept, king, son of Cronus, Olympian Zeus, a lovely image,
And have a heart propitious to the Lacedaemonians.

[5.24.4] We know of no Roman, either commoner or senator, who gave a votive offering to a Greek sanctuary before Mummius, and he dedicated at Olympia a bronze Zeus from the spoils of Achaia.⁶³ It stands on the left of the offering of the Lacedaemonians by the side of the first pillar on this side of the temple. The largest of the bronze images of Zeus in the Altis is twenty-seven feet high, and was dedicated by the Eleans themselves from the plunder of the war with the Arcadians.

[5.24.5] Beside the Pelopium is a pillar of no great height with a small image of Zeus on it; one hand is outstretched. Opposite this are other offerings in a row, and likewise images of Zeus and Ganymedes. Homer's poem⁶⁴ tells how Ganymedes was carried off by the gods to be wine-bearer to Zeus, and how horses were given to Tros in exchange for him. This offering was dedicated by the Thessalian Gnathis and made by Aristocles, pupil and son of Cleoetas.⁶⁵

[5.24.6] There is also another Zeus represented as a beardless youth, which is among offerings of Micythus. The history of Micythus, his family, and why he dedicated so many offerings at Olympia, my narrative will presently set forth.⁶⁶ A little farther on in a straight line from the image I have mentioned is another beardless image of Zeus. It was dedicated by the people of Elaea, who live in the first city of Aeolis you reach on descending from the plain of the Caicus to the sea.

[5.24.7] Yet another image of Zeus comes next, and the inscription on it says that it was dedicated by the Chersonesians of Cnidus from enemy spoils. On either side of the image of Zeus they have dedicated images of Pelops and of the river Alpheius respectively. The greater part of the city of Cnidus is built on the Carian mainland, where are their most noteworthy possessions, but what is called Chersonnesus is an island lying near the mainland, to which it is joined by a bridge.

[5.24.8] It is the inhabitants of this quarter who dedicated to Zeus the offerings at Olympia, just as if Ephesians living in what is called Coresus were to say that they had dedicated an offering independently of the Ephesians as a body. There is also by the wall of the Altis a Zeus turned towards the setting of the sun; it bears no inscription, but is said to be another offering of Mummius made from the plunder of the Achaean war.

[5.24.9] But the Zeus in the Council Chamber is of all the images of Zeus the one most likely to strike terror into the hearts of sinners. He is surnamed Oath-god, and in each hand he holds a thunderbolt. Beside this image it is the custom for athletes, their fathers and their brothers, as well as their trainers, to swear an oath upon slices of boar's flesh that in nothing will they sin against the Olympic games. The athletes take this further oath also, that for ten successive months they have strictly followed the regulations for training.

[5.24.10] An oath is also taken by those who examine the boys, or the foals entering for races, that they will decide fairly and without taking bribes, and that they will keep secret what they learn about a candidate, whether accepted or not. I forgot to inquire what it is customary to do with the boar after the oath of the athletes, though the ancient custom about victims was that no human being might eat of that on which an oath had been sworn.

[5.24.11] Homer proves this point clearly. For the boar, on the slices of which Agamemnon swore that verily Briseis had not lain with him, Homer says was thrown by the herald into the sea.

He spake, and cut the boar's throat with ruthless bronze;
And the boar Talthybius swung and cast into the great depth
Of the grey sea, to feed the fishes. Hom. Il. 19.266-268

Such was the ancient custom. Before the feet of the Oath-god is a bronze plate, with elegiac verses inscribed upon it, the object of which is to strike fear into those who forswear themselves.

[5.25.1] XXV. I have enumerated the images of Zeus within the Altis with the greatest accuracy. For the offering near the great temple, though supposed to be a likeness of Zeus, is really Alexander, the son of Philip. It was set up by a Corinthian, not one of the old Corinthians, but one of those settlers whom the Emperor planted in the city. I shall also mention those offerings which are of a different kind, and not representations of Zeus. The statues which have been set up, not to honor a deity,⁶⁷ but to reward mere men, I shall include in my account of the athletes.

[5.25.2] The Messenians on the Strait in accordance with an old custom used to send to Rhegium a chorus of thirty-five boys, and with it a trainer and a flautist, to a local festival of Rhegium. On one occasion a disaster befell them for not one of those sent out returned home alive, but the ship with the boys on board went to the bottom.

[5.25.3] The sea in fact at this strait is the stormiest of seas; it is made rough by winds bringing waves from both sides, from the Adriatic and the other sea, which is called the Tyrrhenian, and even if there be no gale blowing, even then the strait of itself produces a very violent swell and strong currents. So many monsters swarm in the water that even the air over the sea is infected with their stench. Accordingly a shipwrecked man has not even a hope left of getting out of the strait alive. If it was here that disaster overtook the ship of Odysseus, nobody could believe that he swam out alive to Italy, were it not that the benevolence of the gods makes all things easy.

[5.25.4] On this occasion the Messenians mourned for the loss of the boys, and one of the honors bestowed upon them was the dedication of bronze statues at Olympia, the group including the trainer of the chorus and the flautist. The old inscription declared that the offerings were those of the Messenians at the strait; but afterwards Hippias, called “a sage” by the Greeks,⁶⁸ composed the elegiac verses on them. The artist of the statues was Callon⁶⁹ of Elis.

[5.25.5] At the headland of Sicily that looks towards Libya and the south, called Pachynum, there stands the city Motye, inhabited by Libyans and Phoenicians. Against these foreigners of Motye war was waged by the Agrigentines, who, having taken from them plunder and spoils, dedicated at Olympia the bronze boys, who are stretching out their right hands in an attitude of prayer to the god. They are placed on the wall of the Altis, and I conjectured that the artist was Calamis, a conjecture in accordance with the tradition about them.⁷⁰ Sicily is inhabited by the following races:

[5.25.6] Sicanians, Sicels, and Phrygians; the first two crossed into it from Italy, while the Phrygians came from the river Scamander and the land of the Troad. The Phoenicians and Libyans came to the island on a joint expedition, and are settlers from Carthage. Such are the foreign races in Sicily. The Greeks settled there include Dorians and Ionians, with a small proportion of Phocians and of Attics.

[5.25.7] On the same wall as the offerings of the Agrigentines are two nude statues of Heracles as a boy. One represents him shooting the lion at Nemea. This Heracles and the lion with him were dedicated by Hippotion of Tarentum, the artist being Nicodamus of Maenalus. The other image was dedicated by Anaxippus of Mende, and was transferred to this place by the Eleans. Previously it stood at the end of the road that leads from Elis to Olympia, called the Sacred Road.

[5.25.8] There are also offerings dedicated by the whole Achaean race in common; they represent those who, when Hector challenged any Greek to meet him in single combat, dared to cast lots to choose the champion. They stand, armed with spears and shields, near the great temple. Right opposite, on a second pedestal, is a figure of Nestor, who has thrown the lot of each into the helmet. The number of those casting lots to meet Hector is now only eight, for the ninth, the statue of Odysseus, they say that Nero carried to Rome,

[5.25.9] but Agamemnon's statue is the only one of the eight to have his name inscribed upon it; the writing is from right to left. The figure with the cock emblazoned on the shield is Idomeneus the descendant of Minos. The story goes that Idomeneus was descended from the Sun, the father of Pasiphae, and that the cock is sacred to the Sun and proclaims when he is about to rise.

[5.25.10] An inscription too is written on the pedestal:–

To Zeus these images were dedicated by the Achaeans,
Descendants of Pelops the godlike scion of Tantalus.

Such is the inscription on the pedestal, but the name of the artist is written on the shield of Idomeneus:–

This is one of the many works of clever Onatas,
The Aeginetan, whose sire was Micon.

[5.25.11] Not far from the offering of the Achaeans there is also a Heracles fighting with the Amazon, a woman on horseback, for her girdle. It was dedicated by Evagoras, a Zanclaean by descent, and made by Aristocles of Cydonia. Aristocles should be included amongst the most ancient sculptors, and though his date is uncertain, he was clearly born before Zancle took its present name of Messene.

[5.25.12] The Thasians, who are Phoenicians by descent, and sailed from Tyre, and from Phoenicia generally, together with Thasus, the son of Agenor, in search of Europa, dedicated at Olympia a Heracles, the pedestal as well as the image being of bronze. The height of the image is ten cubits, and he holds a club in his right hand and a bow in his left. They told me in Thasos that they used to worship the same Heracles as the Tyrians, but that afterwards, when they were included among the Greeks, they adopted the worship of Heracles the son of Amphitryon.

[5.25.13] On the offering of the Thasians at Olympia there is an elegiac couplet:–

Onatas, son of Micon, fashioned me,
He who has his dwelling in Aegina.⁷¹

This Onatas, though belonging to the Aeginetan school of sculpture, I shall place after none of the successors of Daedalus or of the Attic school.

[5.26.1] XXVI. The Dorian Messenian who received Naupactus from the Athenians dedicated at Olympia the image of Victory upon the pillar. It is the work of Paeonius of Mende, and was made from the proceeds of enemy spoils,⁷² I think from the war with the Arcarnanians and Oeniadae. The Messenians themselves declare that their offering came from their exploit with the Athenians in the island of Sphacteria,⁷³ and that the name of their enemy was omitted through dread of the Lacedaemonians; for, they say, they are not in the least afraid of Oeniadae and the Acarnanians.

[5.26.2] The offerings of Micythus I found were numerous and not together. Next after Iphitus of Elis, and Echecheiria crowning Iphitus, come the following offerings of Micythus: Amphitrite, Poseidon and Hestia; the artist was Glaucus the Argive.⁷⁴ Along the left side of the great temple Micythus dedicated other offerings: the Maid, daughter of Demeter, Aphrodite, Ganymedes and Artemis, the poets Homer and Hesiod, then again deities, Asclepius and Health.

[5.26.3] Among the offerings of Micythus is Struggle carrying jumping-weights, the shape of which is as follows. They are half of a circle, not an exact circle but elliptical, and made so that the fingers pass through as they do through the handle of a shield. Such are the fashion of them. By the statue of Struggle are Dionysus, Orpheus the Thracian, and an image of Zeus which I mentioned just now.⁷⁵ They are the works of Dionysius of Argos.⁷⁶ They say that Micythus set up other offerings also in addition to these, and that they formed part of the treasures taken away by Nero.

[5.26.4] The artists are said to have been Dionysius and Glaucus, who were Argives by birth, but the name of their teacher is not recorded. Their date is fixed by that of Micythus, who dedicated the works of art at Olympia. For Herodotus in his history⁷⁷ says that this Micythus, when Anaxilas was despot of Rhegium, became his slave and steward of his property afterwards, on the death of Anaxilas, he went away to Tegea.

[5.26.5] The inscriptions on the offerings give Choerus as the father of Micythus, and as his fatherland the Greek cities of Rhegium and Messene on the Strait. The inscriptions say that he lived at Tegea, and he dedicated the offerings at Olympia in fulfillment of a vow made for the recovery of a son, who fell ill of a wasting disease.

[5.26.6] Near to the greater offerings of Micythus, which were made by the Argive Glaucus, stands an image of Athena with a helmet on her head and clad in an aegis. Nicodamus of Maenalus was the artist, but it was dedicated by the Eleans. Beside the Athena has been set up a Victory. The Mantineans dedicated it, but they do not mention the war in the inscription. Calamis is said to have made it without wings in imitation of the wooden image at Athens called Wingless Victory.

[5.26.7] By the smaller offerings of Micythus, that were made by Dionysius, are some of the exploits of Heracles, including what he did to the Nemean lion, the Hydra, the Hound of Hell, and the boar by the river Erymanthus. These were brought to Olympia by the people of Heracleia when they had overrun the land of the Mariandynians, their foreign neighbors. Heracleia is a city built on the Euxine sea, a colony of Megara, though the people of Tanagra in Boeotia joined in the settlement.

[5.27.1] XXVII. Opposite the offerings I have enumerated are others in a row; they face towards the south, and are very near to that part of the precinct which is sacred to Pelops. Among them are those dedicated by the Maenalian Phormis. He crossed to Sicily from Maenalus to serve Gelon the son of Deinomenes. Distinguishing himself in the campaigns of Gelon and afterwards of his brother Hieron, he reached such a pitch of prosperity that he dedicated not only these offerings at Olympia, but also others dedicated to Apollo at Delphi.

[5.27.2] The offerings at Olympia are two horses and two charioteers, a charioteer standing by the side of each of the horses. The first horse and man are by Dionysius of Argos, the second are the work of Simon of Aegina.⁷⁸ On the side of the first of the horses is an inscription, the first part of which is not metrical. It runs thus:–

Phormis dedicated me, an Arcadian of Maenalus, now of Syracuse.

[5.27.3] This is the horse in which is, say the Eleans, the hippomanes (what maddens horses). It is plain to all that the quality of the horse is the result of magic skill. It is much inferior in size and beauty to all the horses standing within the Altis. Moreover, its tail has been cut off which makes the figure uglier still. But male horses, not only in spring but on any day, are at heat towards it.

[5.27.4] In fact they rush into the Altis, breaking their tethers or escaping from their grooms, and they leap upon it much more madly than upon a living brood mare, even the most beautiful of them. Their hoofs slip off, but nevertheless they keep on neighing more and more, and leap with a yet more violent passion, until they are driven away by whips and sheer force. In no other way can they be separated from the bronze horse.

[5.27.5] There is another marvel I know of, having seen it in Lydia; it is different from the horse of Phormis, but like it not innocent of the magic art. The Lydians surnamed Persian have sanctuaries in the city named Hierocaesareia and at Hypaepa. In each sanctuary is a chamber, and in the chamber are ashes upon an altar. But the color of these ashes is not the usual color of ashes.

[5.27.6] Entering the chamber a magician piles dry wood upon the altar; he first places a tiara upon his head and then sings to some god or other an invocation in a foreign tongue unintelligible to Greeks, reciting the invocation from a book. So it is without fire that the wood must catch, and bright flames dart from it.

[5.27.7] So much for this subject. Among these offerings is Phormis himself opposed to an enemy, and next are figures of him fighting a second and again a third. On them it is written that the soldier fighting is Phormis of Maenalus, and that he who dedicated the offerings was Lycortas of Syracuse. Clearly this Lycortas dedicated them out of friendship for Phormis. These offerings of Lycortas are also called by the Greeks offerings of Phormis.

[5.27.8] The Hermes carrying the ram under his arm, with a helmet on his head, and clad in tunic and cloak, is not one of the offerings of Phormis, but has been given to the god by the Arcadians of Pheneus. The inscription says that the artist was Onatas of Aegina helped by Calliteles, who I think was a pupil or son of Onatas. Not far from the offering of the Pheneatians is another image, Hermes with a herald's wand. An inscription on it says that Glaucias, a Rhegian by descent, dedicated it, and Gallon of Elis made it.

[5.27.9] Of the bronze oxen one was dedicated by the Corcyraeans and the other by the Eretrians. Philesius of Eretria was the artist. Why the Corcyraeans dedicated the ox at Olympia and another at Delphi will be explained in my account of Phocis.⁷⁹ bout the offering at Olympia I heard the following story.

[5.27.10] Sitting under this ox a little boy was playing with his head bent towards the ground. Suddenly lifting his head he broke it against the bronze, and died a few days later from the wound. So the Eleans were purposing to remove the ox from out the Altis as being guilty of bloodshed. But the god at Delphi gave an oracle that they were to let the offering stay where it was, after performing upon it the purificatory rites that are customary among the Greeks for unintentional shedding of blood.

[5.27.11] Under the plane trees in the Altis, just about in the center of the enclosure, there is a bronze trophy, with an inscription upon the shield of the trophy, to the effect that the Eleans raised it as a sign that they had beaten the Lacedaemonians. It was in this battle that the warrior lost his life who was found lying in his armour when the roof of the Heraeum was being repaired in my time.

[5.27.12] The offering of the Mendeans in Thrace came very near to beguiling me into the belief that it was a representation of a competitor in the pentathlum. It stands by the side of Anauchidas of Elis, and it holds ancient jumping-weights. An elegiac couplet is written on its thigh:–

To Zeus, king of the gods, as first-fruits was I placed here
By the Mendeans, who reduced Sipte by might of hand.

Sipte seems to be a Thracian fortress and city. The Mendeans themselves are of Greek descent, coming from Ionia, and they live inland at some distance from the sea that is by the city of Aenus.

40. See Paus. 2.21.9.
41. circa 580-540 B.C.
42. circa 388 B.C.
43. That is, “as oxen turn when ploughing.” The writing went from left to right and from right to left alternately.
44. See Paus. 2.4.
45. Hom. Il. 7.225 foll.
46. Various attempts have been made to emend this inscription, which is obviously corrupt. None of them is satisfactory.
47. Hom. Od. 10.348 foll.
48 An Epic poet of the eighth century B.C. See Paus. 2.1.
49. A pupil of Pheidias.

50. circa 400 B.C.
51. “Temple of the Mother.”
52. 532 B.C.
53. Such is the only meaning of the Greek. Frazer's translation, which omitsautôi kaial together, is impossible. On the other handautôi kaimakes poor sense, and may be an interpolation. The emendation krinais attractive.
54. Fr. 290.
55. 479 B.C.
56. Augustus
57. 356 B.C.
58. 430-429 B.C.
59. 316 B.C.
60. 446-445 B.C.

61. The last two verses are corrupt in all our MSS. No emendation has been proposed which can be considered satisfactory, and I will not venture on one of my own. But the general sense must be such as I have indicated.
62. 355-346 B.C.
63. 146 B.C.
64. Hom. Il. 5.265 foll. and Hom. Il. 20.231 foll.
65. Cleoetas probably flourished in the early part of the fifth century B.C.
66. See Paus. 5.26.2
67. I translate the articles into theionandtous anthrôpousas generic articles.
68. fl. 436 B.C.
69. This artist seems to have flourished between 494 and 436 B.C.
70. circa 500-460 B.C.

71. circa 470 B.C.
72. circa 430 B.C.
73. 425 B.C.
74. circa 460 B.C.
75. Paus. 5.24.6
76. circa 460 B.C.
77. Hdt. 7.170
78. 488-460 B.C.
79. Paus. 10.9.3